DETROIT  INSTITUTE 
OF  ARTS 

of  the 

CITY  OF  DETROIT 


CATALOGUE 


* 


/ 


The 

DETROIT  INSTITUTE 
OF  ARTS 

of  the 

CITY  OF  DETROIT 

Catalogue  of 
PAINTINGS,  SCULPTURE 
and 

CONTEMPORARY 
ARTS  and  CRAFTS 


DETROIT 
1920 


Copyrighted  by 
The  Detroit  Institute  of  Arts 
1920 


THE  DETROIT  INSTITUTE  OF  ARTS 
OF  THE  CITY  OF  DETROIT 


ARTS  COMMISSION 

RALPH  H.  BOOTH,  President 
WILLIAM  J.  GRAY 
ALBERT  KAHN 
HENRY  G.  STEVENS 

Commissioners 


CLYDE  H.  BURROUGHS 

Secretary  and  Curator 


/ 


Contents 

Introduction   7 

Italian  Painting   IS 

Dutch  Painting   44 

German  Painting   67 

Flemish  Painting   68 

English  Painting   79 

French  Painting   83 

Spanish  Painting   87 

Miscellaneous  XIX  Century  Painting   92 

American  Painting  107 

Sculpture  156 

Arts  and  Crafts  (Contemporary)  175 

Index  188 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/catalogueofpaintOOdetr_0 


INTRODUCTION 

The  collections  of  the  Detroit  Museum  of  Art  were 
recently  conveyed  to  the  Arts  Commission  of  the  City 
of  Detroit,  and  form  the  nucleus  around  which  the 
Detroit  Institute  of  Arts  will  be  built. 

These  collections  had  their  first  great  impetus  in  1889, 
when  James  E.  Scripps,  one  of  the  founders  of  the 
Museum,  presented  over  seventy  pictures  by  Italian, 
Spanish,  Flemish,  Dutch,  and  French  artists  of  the 
XV  to  the  XVIII  Centuries.  This  gift  places  the  col- 
lections of  the  Detroit  Institute  of  Arts  in  an  enviable 
position  among  American  museums  for  the  breadth 
and  character  of  its  collections,  in  which  may  be  traced 
almost  every  influence  of  Renaissance  art. 

Speaking  of  his  own  benefaction  at  the  time  it  was 
made,  some  forty  years  ago,  Mr.  Scripps  said: 

"As  a  journalist,  it  had  been  my  lot,  on  frequent  occasions, 
to  urge  upon  those  who  should  have  accumulated  more 
than  the  average  share  of  wealth,  the  duty  and  wisdom  of 
employing  a  part  at  least  of  their  surplus  in  public  bene- 
factions. As  my  own  circumstances  bettered,  it  was  im- 
possible with  consistency  to  do  otherwise  than  follow  my 
precept  by  practical  example. 

"The  most  promising  field  for  a  public  benefaction  seemed 
to  be  in  the  establishment  of  an  art  institute,  which  should 
at  once  afford  elevated  amusement  to  the  people,  and  the 
means  for  an  education  in  art  for  those  who  would  enter 
upon  it  as  a  profession.  This  field  I  long  since  marked  out 
for  myself,  believing  it  would  prove  a  useful  one,  and  one 
that  might  contribute  materially  to  the  aggrandizement  of 
our  beautiful  city. 

"Such  were  my  aspirations  for  our  good  city  when,  in 
1885,  through  the  energy  and  liberality  of  others,  the  De- 
troit Museum  of  Art  came  into  existence.    The  grounds 


7 


and  building  being  provided  for  by  popular  subscription, 
the  opportunity  appeared  for  carrying  out  my  long-cherished 
plans,  and  I  at  once  set  about  forming  for  it  the  nucleus 
of  a  collection  of  pictures.  My  attention  was  directed  to 
the  field  of  the  old  masters  for  the  following  reasons:  ( 1) 
From  having  for  some  years  been  a  collector  of  the  etched  and 
engraved  works  of  the  old  masters,  I  possessed  some  slight 
acquaintance  with  the  field.  (2)  It  was  a  field  which,  in 
the  prevailing  rage  for  modern  pictures,  would  not  be  likely 
to  be  taken  up  by  any  other  beneficiaries  of  the  Museum. 

( 3)  It  was  not  difficult  to  see  that  it  was  the  cities  which 
possessed  the  choicest  collections  of  the  works  of  the  great 
masters  of  the  past  that  were  the  favored  resorts  of  artists 
and  art  students.  It  was  largely  by  the  study  of  these  old 
masters  that  great  modern  painters  were  developed;  a  col- 
lection of  their  works,  therefore,  seemed  almost  indispen- 
sable, if  Detroit  would  become  a  center  of  art  education. 

(4)  No  public  gallery  in  this  country  had  as  yet  made  any 
considerable  start  in  acquiring  a  collection  of  old  masters. 
A  field  for  pre-eminence  was,  therefore,  open  to  the  Detroit 
Museum  in  that  direction,  which  in  the  line  of  modern 
pictures  could  only  have  been  attained  at  the  cost  of  a  large 
fortune.  (5)  There  appeared  to  me  to  be  an  element  of 
permanent  value  in  old  masters,  which  modern  pictures 
might  not  possess,  an  opinion  which  was  strengthened  by  a 
private  letter  received  in  1885  from  Mr.  Charles  B.  Curtis, 
of  New  York,  in  which  the  following  passage  occurred: 
*  I  am  glad  to  be  assured  that  there  are  some  men  in  this 
new  country,  who  are  capable  of  appreciating  the  works 
of  the  old  masters,  and  who  buy  them  in  preference  to  the 
productions  of  the  modern  school.  At  present  the  fashion 
sets  towards  the  style  of  Diaz  and  Bouguereau.  How  long 
this  may  last  we  cannot  tell.  He  would  be  a  bold  man 
who  should  undertake  to  prophesy  what  will  be  the  status 
of  these  men  a  hundred  years  hence.  But  Murillo  and 
Claude  have  lasted  two  centuries  with  increasing  fame. 
We  may  safely  trust,  therefore,  that  they  will  continue  to 
shine  far  into  the  future.'  (6)  Every  year  old  pictures 
are  becoming  scarcer  in  the  market,  and  every  year  that 
the  beginning  of  our  collection  was  postponed,  made  it  the 
more  difficult  of  accomplishment. 


8 


"With  these  convictions  I  began  work  on  this  nucleus 
for  a  collection  ( for  it  can  really  only  be  considered  a  begin- 
ning of  what  Detroit  in  a  few  years  may  possess),  and  for 
the  past  two  years  (  1887  to  1888)  have  made  it  almost  my 
sole  occupation.  I  have  in  that  time  visited  and  studied 
over  forty  of  the  principal  picture  galleries  of  Europe,  have 
probed  the  various  markets,  and  have  expended  between 
?75,000  and  380,000  in  purchases. 

"This  labor  and  expenditure  has  been  undertaken  with 
the  full  knowledge  that  my  work  will  probably  not  immedi- 
ately be  appreciated,  but  in  the  fullest  confidence  that  the 
future  will  recognize  its  wisdom  and  foresight. 

"In  forming  this  collection  the  usual  collectors'  plan 
has  been  pursued,  of  securing  first  the  more  readily  attain- 
able works,  instead  of  seeking  for  masterpieces  and  rarities. 
Such  will  naturally  come  in  time.  Meanwhile  I  have  sought 
mainly  for  good  examples  of  the  works  of  the  masters  such 
as  are  comparatively  plentiful  in  the  market.  Of  this  class 
are  many  of  the  Dutch  masters  of  the  XVII  Century,  pic- 
tures by  whom  constitute  nearly  half  of  this  collection. 
But  these  I  have  happily  been  able  to  supplement  by  a  few 
truly  great  works." 

The  desire  of  Mr.  Scripps  to  safeguard  the  Museum 
from  the  hasty  acceptance  of  pictures  which  might 
later  be  regarded  as  unworthy  a  place  in  the  collection, 
is  seen  in  the  following  letter  addressed  to  the  acting 
president  of  the  Museum  at  that  time: 

"Honorable  James  McMillan,  Vice-President, 
Detroit  Museum  of  Art. 

"Dear  Sir:  As  you  are  aware,  I  have  spent  the  principal 
portion  of  my  time  for  two  years  past,  and  some  ^75,000 
or  380,000  in  cash,  in  forming  a  collection  of  pictures  by  the 
old  masters  for  presentation  to  the  city  of  Detroit,  as  rep- 
resented by  the  Museum  of  Art.  The  works  are  now  on 
their  way  to  the  city.  They  number  about  eighty  pieces  in 
all,  some  very  valuable,  others  of  trifling  worth.  From  the 
whole  I  think  as  many  as  fifty  works  could  be  selected,  which 
would  be  of  permanent  value  to  the  Museum. 

"I  propose  that  the  Trustees  give  me  the  use  of  a  gallery 


9 


for  the  exhibition  of  the  collection,  during  the  course  of 
v/hich  exhibition  the  Trustees,  through  any  committee  or 
other  agency  they  may  determine  upon,  shall  with  care 
and  deliberation  proceed  to  select  the  best  fifty  — if  they 
shall  find  so  many  that  are  desirable  — when  I  will  make 
formal  conveyance  of  the  same  to  the  Institution. 

"My  purpose  in  limiting  the  number  is  to  guard  against 
the  walls  of  the  Museum  being  cumbered  with  anything 
which  later  on  may  become  undesirable  property,  and  I 
am  importing  the  pictures  in  my  own  name,  in  order  that 
the  cullings,  or  those  that  may  be  regarded  as  of  little  or 
no  value,  may  be  left  on  my  hands,  without  embarrassment 
to  any  one. 

Very  truly  yours, 

James  E.  Scripps.'* 

Seventy-two  of  the  pictures  were  accepted  by  the 
Trustees. 

In  1909,  after  the  death  of  Mr.  Scripps,  his  wife,  Mrs. 
Harriet  J.  Scripps,  tendered  as  a  gift  fifteen  additional 
paintings,  which  happily  augment  the  collection. 

She  also  presented  as  a  further  memorial  to  her  hus- 
band his  large  collection  of  prints  and  drawings,  num- 
bering about  twelve  hundred  and  eighty,  which  are  cata- 
logued elsewhere,  and  which  she  felt  could  best  serve 
their  purpose  by  being  intrusted  to  the  Institution,  to 
the  inception  of  which  Mr.  Scripps  gave  so  much  of 
his  time  and  thought. 

Mr.  Edward  Chandler  Walker,  who  was  President  of 
the  Museum  in  1907  and  1908,  followed  with  keen 
interest  the  work  of  the  Museum  and  contributed 
materially  toward  its  collections.  The  Museum  is 
chiefly  indebted  to  him  for  a  group  of  four  paintings  by 
Detroit's  distinguished  artist,  Gari  Melchers,  consisting 
of  "The  Fencing  Master,"  "The  Wedding,"  "Portrait 
of  Ik  Marvel,"  and  the  "Portrait  of  Mrs.  Melchers." 
His  gift  also  includes  fine  examples  of  Isabey,  John 


10 


Hoppner,  Constant  Troyon,  Mary  Cassatt,  and  others. 
He  also  gave  substantial  support  to  other  museum  pro- 
jects, being  one  of  the  largest  contributors  toward  the 
new  Museum  site,  and  at  his  death  left  a  bequest  of 
twenty-five  thousand  dollars. 

Mr.  Charles  Willis  Ward,  who  became  a  member  of 
the  corporation  in  1909,  presented  a  group  of  paintings 
including  examples  of  Josef  Israels,  Constant  Troyon, 
William  A.  Bouguereau,  Willard  L.  Metcalf,  Edward 
W.  Redfield,  E.  Irving  Couse,  and  Robert  Hopkin. 

Mr.  D.  M.  Ferry,  Jr.,  who  was  President  of  the 
Museum,  1913  to  1918,  and  his  sister,  Mrs.  Queene 
Ferry  Coonley,  presented  jointly  a  group  of  nine  pic- 
tures from  the  D.  M.  Ferry  collection,  consisting  of 
examples  of  Rosa  Bonheur,  Emile  Van  Marcke, 
Eugene  Isabey,  Alma-Tadema,  Josef  Israels,  Adolph 
Schreyer,  Leon  Perrault,  Jean  Aubert  and  Narcisse 
Virgilio  Diaz  de  la  Pena. 

The  income  from  the  bequests  of  Mr.  William  C. 
Yawkey  of  five  thousand  dollars.  Miss  Octavia  W. 
Bates  of  seven  thousand  dollars,  Mrs.  Lizzie  Merrill 
Palmer  of  ten  thousand  dollars,  and  of  Elliott  T.  Slocum 
of  two  thousand  dollars  has  enabled  the  Museum  to 
acquire  some  works  of  art  by  contemporary  painters 
and  sculptors,  but  most  of  the  collection  of  modern 
paintings  and  some  of  the  sculpture  have  been  pur- 
chased by  popular  subscription. 

In  1905  the  Museum  set  out  to  secure  annual  con- 
tributions to  a  picture  fund,  and  this  was  continued  over 
a  period  of  years,  with  the  result  that  the  Museum  has 
been  enabled  to  bring  together  the  nucleus  of  a  collec- 
tion of  contemporary  art,  mostly  by  American  artists. 
In  1914,  through  an  action  of  the  Board  of  Trustees, 
these  contributors  to  the  picture  fund  became  annual 


11 


and  sustaining  members  of  the  corporation,  the  mem- 
bership fees  continuing  to  be  used  largely  for  the  same 
purpose. 

Mr.  George  G.  Booth,  elected  a  member  of  the 
Detroit  Museum  of  Art  in  1900,  has  always  shown  a 
keen  interest  in  the  affairs  of  the  Museum.  His  gift  of 
a  collection  of  artistic  handicraft  in  1919,  consisting  of 
over  one  thousand  objects,  mostly  by  American  crafts- 
men, is  one  of  the  most  significant  contributions  the 
Museum  has  received. 

With  some  modifications,  the  excellent  catalogue  of 
the  earlier  paintings,  compiled  by  Mr.  Scripps  at  the 
time  of  his  gift,  has  been  used  as  a  basis  of  the  present 
catalogue. 

The  Arts  Commission  acknowledges  its  indebtedness 
to  Bernard  Berenson,  Dr.  A.  Bredius,  late  Director 
and  at  present  Advisor  of  the  Royal  Picture  Gallery 
at  The  Hague,  Dr.  J.  O.  Kronig,  late  Director  of  the 
Frans  Hals  Museum  at  Haarlem,  and  Professor  Chand- 
ler R.  Post,  of  Harvard,  for  their  ascriptions  on  some 
of  the  paintings. 

The  present  catalogue  does  not  include  all  of  the 
departments  of  the  Museum.  The  prints,  the  Egyp- 
tian and  Oriental  collections  and  other  departments 
will  be  catalogued  separately. 

In  the  arrangement  of  the  catalogue  the  names  of  the 
artists  are  listed  alphabetically  under  countries,  except 
that  the  miscellaneous  XIX  Century  paintings,  which 
are  not  numerous  enough  to  justify  this  arrangement, 
have  been  put  in  a  chapter  by  themselves. 

CLYDE  H.  BURROUGHS, 

Secretary  and  Curator 


12 


No.  9.    ANTONIO  CANALE 
View  of  Venice  from  St.  Mark's  Quay 


/ 


ITALIAN  PAINTING 

AGOSTINI,  GIOVANNI  PAOLO  DE. 

Worked  between  1510  and  1520.    Milanese  School. 

1.  Double  Portrait  of  an  Italian 
Nobleman  and  his  Wife. 

Was  attributed  to  Giovanni  Bellini  when  purchased. 
The  above  ascription  to  Giovanni  Paolo  de  Agostini 
is  made  by  Bernard  Berenson,  in  an  article  on  this 
picture  in  the  "Rassegna  d'  Arte"  for  April,  1916. 
He  deciphers  the  inscription  at  the  top  as  "loanis 
Paulus  De  Augustinis,"  the  painter's  signature. 

Canvas:  h.  15  in.,  w.  IXj/i  in.  From  the  collec- 
tion of  Henry  Wilkinson  of  Enfield,  England. 

Presented  by  Mr.  James  E.  Scripps, 

AGNOLO,  ANDREA  D',  called  ANDREA  DEL 
SARTO.    1487-1531.    Florentine  School. 

2.  The  Deposition  of  Christ. 

Wood:  h.  2834'  in.,  w.  24  in.  This  painting  is  either 
a  study  for  the  larger  one  of  the  same  subject, 
No.  58,  in  the  Pitti  Palace  gallery  at  Florence,  or 
is  a  copy  by  one  of  Del  Sarto's  pupils.  A  change 
in  the  color  of  the  dress  of  the  woman  at  the 
Savior's  feet  leads  to  the  inference  that  it  is  not  a 
copy,  but  really  a  work  of  the  master's  own  hand. 

Presented  by  Mr.  James  E.  Scripps. 


15 


ALBANO,  FRANCESCO. 
1578-1660.    School  of  Bologna. 

3.  The  Immaculate  Conception. 

(See  remarks  on  the  doctrine  of  the  Immaculate 
Conception  in  connection  with  No.  88,  of  this 
catalogue.) 

Canvas:  h.  37  in.,  w.  28)4  in.  Formerly  in  the 
Duke  of  Modena's  collection. 

Presented  by  Mr.  James  E.  Scripps. 

ALLEGRI,  ANTONIO,  called  CORREGGIO. 
1494-1534.    School  of  Parma. 

4.  Angel  Heads. 

Study  for  the  dome  of  the  cathedral  at  Parma.  The 
figure  at  the  left  looks  as  if  intended  for  a  young 
John  the  Baptist. 

Canvas:  octagonal,  h.  23  in.,  w.  23  in.  From  the 
collection  of  W.  H.  Aspinwall,  of  New  York. 

Presented  by  Mr.  James  E.  Scripps. 


5.    The  Virgin  and  Child. 

Panel:  h.  12^  in.,  w.  9^  in.  This  picture  is  an 
exact  replica  of  a  similar  subject  in  the  National 
Gallery,  London,  even  to  size.  It  was  in  the  posses- 
sion of  Dr.  Hinde,  lecturer  at  the  University  Col- 
lege Hospital,  London.  Sir  Charles  Eastlake,  presi- 
dent of  the  Royal  Academy,  and  English  editor 
of  Kugler's  Handbook  of  Paintings  of  the  Italian 
School,  who  was  a  frequent  visitor  at  Dr.  Hinde's, 
believed  it  to  be  a  genuine  work  of  Correggio. 

Presented  by  Mr.  James  E.  Scripps. 


16 


No.  11.    CIMA  DA  CONEGLIANO 

The  Mado7ina  and  Infant  Savior 


BAGNACAVALLO,  see  RAMENGHI, 
BARTOLOMMEO. 


BARBIERI,  GIOVANNI  FRANCESCO, 

called  GUERCINO.    1591-1666.    School  of  Bologna. 

6.    The  Erythraean  Sibyl. 

A  long  tablet,  or  book  of  wax  tablets,  is  inscribed 
with  the  title,  "JVDICIJ  SIGNUM  TELLUS 
SUDORE  MADESCET,"  and  at  the  foot  the 
words  ^'Sibij  Erithraea,"  the  literal  translation  being 
*^The  sign  of  judgment,  the  earth  shall  be  moistened 
with  sweat,"  with  the  name  of  the  Sibyl. 

The  Sibyls  were  prophetesses  who  foretold  the 
coming  of  Christ  to  the  Gentiles,  as  the  prophets 
did  to  the  Jews.  They  were  regarded  as  holy  vir- 
gins, who  lived  in  caves  and  grottoes,  with  power 
to  read  the  future.  Varro,  who  wrote  100  years 
before  Christ,  gives  their  number  as  ten,  and  their 
names  are  taken  from  the  location  of  their  habita- 
tion. The  Sibyl  Erythraea  was  the  prophetess  of 
Divine  vengeance.  She  predicted  the  Trojan  war, 
in  which  character  she  holds  a  naked  sword.  But 
she  also  foretold  the  annunciation  and  in  this 
representation  she  has  a  white  rose. 

Canvas:  h.  44^4  in.,  w.  60^  in.  Formerly  in  the 
Memorial  Palace  at  Pisa;  later  in  the  collection 
of  W.  H.  Aspinwall,  of  New  York. 

Presented  by  Mr.  James  E.  Scripps. 


19 


BIGI,  FRANCESCO,  called  FRANCIABIGIO. 
1482-1525.    Florentine  School. 


7.  Portrait  of  a  Man. 

Was  attributed  to  Masaccio  when  purchased.  The 
above  ascription  to  Franciabigio  is  made  by  Ber- 
nard Berenson. 

Wood :  h.  15^  in.,  w.  1 13^^  in.  From  the  collection  of 
the  Marchese  Caruana  of  Florence. 

Presented  by  Mr.  James  E.  Scrtpps, 

BYZANTINE  SCHOOL.    XIII  Century. 

The  artists  of  Constantinople,  driven  to  seek  new 
fields  by  the  opposition  to  pictures  inculcated  by 
the  Greek  Church,  found  an  asylum  in  the  monas- 
teries of  Italy,  where  they  pursued  their  art.  From 
this  beginning  sprang  the  famous  revival  of  art  in 
Italy  which  culminated  in  the  XV  Century.  These 
Byzantine  paintings  are  always  on  wood,  usually 
cut  to  a  convex  surface,  and  are  always  on  a  gold 
ground. 

8.  St.  Mercurius. 

Wood:  h.  8^  in.,  w.  6^8  in. 

Presented  by  Mr.  James  E.  Scripps. 

CANALE,  ANTONIO,  called  CANALETTO. 
1697-1768.    Venetian  School. 

9.  View  of  Venice  from  St.  Mark's  Quay. 

To  the  right,  the  palace  of  the  Doges;  to  the  left, 
the  church  of  Santa  Maria  della  Salute. 

Canvas:  h.  45  in.,  w.  46^4^  in. 

Presented  by  Mr.  James  E.  Scripps, 

20 


I 


CARRACCI,  ANNIBALE.  1560-1609. 
School  of  Bologna. 

10.  The  Triumph  of  Galatea. 

A  replica  in  oil  of  one  of  the  Farnesina  frescoes. 
Canvas:  h.  29  in.,  w.  S3  in.    From  the  Duke  of 
Lucca's  collection,  sold  in  London,  1841. 

Presented  by  Mr.  James  E.  Scrtpps. 

CIMA  DA  CONEGLIANO,  GIOVANNI 
BATTISTA.    1460  (?)-lS17.    Venetian  School. 

11.  The  Madonna  and  Infant  Savior. 

Bernard  B;erenson  says  this  is  the  earliest  painting 
by  Cima  which  he  has  come  across  in  America, 
a  very  early  work — about  1488 — because  ^^never 
again  is  Cima  at  once  so  Antonellesque  and  Bellin- 
esque."  "The  sculptural  compactness — ,  the  pyra- 
midal mass  of  the  two  figures,  the  conical  effect 
of  the  Virgin  alone  betray  the  strong  influence  of 
Antonello,  while  the  type  and  action  of  the  Child 
and  the  feeHng  of  the  whole  bear  witness  no  less 
to  contact  with  Bellini."  (Berenson:  "Venetian 
Painting  in  America — the  Fifteenth  Century.") 

Wood:  h.  253/^  in.,  w.  19  in.  Signed  at  the  right, 
"Joannes  Bta.  Coneglanesis."  From  the  col- 
lections successively  of  M.  de  Bammeville,  Rev. 
W.  Davenport-Bromley,  and  Mrs.  Sloane  Stanley 
of  London. 

Presented  by  Mr.  James  E.  Scrtpps. 


23 


CORNETO,  MONALDUS  DA.    Umbrian  School. 


12.  The  Marriage  of  the  Virgin. 

Was  attributed  to  Pinturicchio  when  purchased. 
The  above  ascription  to  Monaldus  da  Corneto, 
of  the  school  of  Perugino,  is  made  by  Bernard 
Berenson. 

According  to  the  legend,  when  Mary  was  four- 
teen years  old  an  angel  instructed  the  priest 
Zacharias  to  call  together  all  the  widowers 
among  the  people  and  require  each  to  bring  his 
rod.  The  several  rods  were  deposited  in  the 
temple  over  night,  and  next  morning  that  of 
Joseph  was  found  to  have  budded  and  flowered. 
He  was  accordingly  assigned  as  the  husband  of 
Mary  and  all  the  others  broke  their  rods  in 
despair. 

Canvas:  h.  24>^  in.,  w.  40^  in. 

Presented  by  Mr,  James  E.  Scripps, 

CORREGGIO,  see  ALLEGRI,  ANTONIO. 

DOLCI,  CARLO.    1616-1686.    Florentine  School. 

13.  Head  of  St.  Mary  Magdalene. 

Canvas:  h.  16^  in.,  w.  13^  in.  From  the  col- 
lection of  the  Marchese  Caruana  of  Florence. 

Presented  by  Mr.  James  E.  Scripps, 


24 


No.  20.    THE  MASTER  OF  THE  SAN  MINIATO  ALTARPIECE 
The  Virgin  and  Child 


FIORENTINO,  PIER  FRANCESCO. 

Worked  between  1475  and  1497.    Florentine  School. 

14.  The  Virgin  Adoring  the  Infant  Savior. 

Was  attributed  to  Alessio  Baldovinetti  when 
purchased.  The  above  ascription  to  Pier  Fran- 
cesco Fiorentino  has  been  made  by  such  critics  as 
Seymour  de  Ricci  and  Professor  Chandler  R. 
Post. 

Wood:  arched,  h.  28^  in.,  w.  16  in.  From  the 
collection  of  the  Tassi  family,  Florence. 

Presented  by  Mr.  James  E.  Scripps. 
GAROFALO,  see  TISI,  BENVENUTO. 
GIAMPIETRINO,  see  PEDRINI,  GIOVANNI. 

GIORDANO,  LUCA.    1632-1705.   Neapolitan  School. 

15.  The  Nativity. 

Canvas:  h.  22^  in.,  w.  29^4^  in.  From  the  col- 
lection of  Hans  Stanley,  who  was  a  lord  of  the 
British  admiralty  from  1757  to  1763,  and  in  1765 
went  as  English  ambassador  extraordinary  to  the 
Empress  of  Russia. 

Presented  by  Mr.  James  E.  Scripps. 

GUARDI,  FRANCESCO.  1712-1793. 
Venetian  School. 

16.  View  on  the  Grand  Canal,  Venice. 

Canvas:  h.  14^  in.,  w.  \9}i  in.  From  the  col- 
lection of  T.  J.  Ireland,  M.  P.,  of  Ousden  Hall, 
Suffolk,  England. 

Presented  by  Mr.  James  E.  Scripps. 


27 


GUERCINO,  see  BARBIERI,  GIOVANNI 
FRANCESCO. 


ITALIAN  SCHOOL.    XV  Century  (?). 
17.    The  Crucifixion. 

Wood:  arched,  h.  35  in.,  w.  21  in.  Painted  on 
gesso  or  a  preparation  of  plaster  anciently  used 
as  a  groundwork  for  the  colors.  Probably  a 
small  altarpiece  of  the  XV  Century  or  earlier. 
From  the  Stowe  House  Sale,  1848. 

Presented  by  Mrs.  Harriet  J.  Scripps. 


ITALIAN  (NORTH)  SCHOOL.    About  1700. 

18.    The  Spiritual  Betrothal  of  St.  Catherine 
OF  Alexandria  with  the  Infant  Jesus. 

Representing  symbolically  the  mystic  union  be- 
tween Christ  and  the  Church.  St.  Catherine, 
according  to  the  legend,  was  an  Egyptian  prin- 
cess of  great  beauty  and  learning,  who  lived  in 
the  third  century.  When  fourteen  years  of  age, 
at  the  death  of  her  father,  she  became  queen. 
Canvas:  h.  36  in.,  w.  51  in. 

In  1883,  when  preparations  were  making  for  the 
art  loan  exhibition  of  that  year,  Richard  Storrs 
Willis,  through  clerical  friends,  solicited  of  His 
Holiness  Pope  Leo  XIII,  the  contribution  of  a 
picture  from  the  Vatican.  In  response  this  one 
was  received  with  the  Pope's  blessing.  The 
Detroit  Museum  of  Art  was  the  outgrowth  of 
that  exhibition  and  thus  came  into  possession  of 
the  picture. 


28 


No.  21.    ALEGRETTO  NUZI 
A  Triptych  Altarpiece 


MARATTA,  CARLO.    1652-1713.    Roman  School. 

19.    The  Virgin  and  Child  and  St.  John. 

Copper:  h.  34>^  in.,  w.  IGyi  in.  Formerly  the 
property  of  Prince  di  Gonzaga. 

Presented  by  Mr.  James  E.  Scripps. 


MASTER  OF  THE  SAN  MINIATO 
ALTARPIECE,  THE.    XV  Century. 
Florentine  School. 

A  master  whose  personality  has  lately  been 
discovered.  A  pupil  of  Fra  Filippo  Lippi  (1405- 
1469).  Two  other  examples  of  his  work  are  in 
this  country,  one  in  the  Minneapolis  Institute 
of  Arts,  the  other  in  the  Johnston  Collection, 
Philadelphia. 

20.    The  Virgin  and  Child. 

Was  attributed  to  Fra  Filippo  Lippi  when  pur- 
chased. The  above  ascription  to  The  Master  of 
of  the  San  Miniato  Altarpiece  is  made  by  Bernard 
Berenson. 

Wood:  arched,  h.  19^  in.,  w.  14  in.  Purchased 
of  Luigi  Pisani  of  Florence. 

Presented  by  Mr.  James  E.  Scripps. 


31 


NUZI,  ALEGRETTO.  Worked  between  1360  and 
1385.    Florentine  School. 


21.    A  Triptych  Altarpiece. 

Central  panel:  the  Virgin  and  Child  enthroned 
with  John  the  Baptist  and  St.  Catherine.  Left 
wing:  the  Nativity.    Right  wing:  the  Crucifixion. 

Was  attributed  to  Giotto  when  purchased.  The 
above  ascription  to  Alegretto  Nuzi  is  made  by 
Bernard  Berenson  in  his  "Central  Italian  Painters 
of  the  Renaissance." 

"The  feminine  saint  at  the  left,  in  the  absence  of 
any  more  definite  attributes  than  the  book  of 
pious  wisdom,  the  conventionalized  martyr's 
palm  and  the  princess's  crown,  we  may  conjec- 
ture to  be  Catherine  of  Alexandria  who  was  so 
prominent  in  the  category  of  virgin  saints  that 
it  was  sometimes  not  thought  necessary  to 
distinguish  her  by  her  ordinary  symbol,  the 
wheel.  A  similar  figure  in  the  Berlin  diptych 
by  Alegretto  Nuzi  is  identified  in  the  catalogue 
as  St.  Catherine  although  she  has  no  more  attri- 
butes" than  in  this  picture.  (Professor  C.  R. 
Post  in  "Art  in  America"  for  August,  1915.) 

Wood:  central  panel,  h.  18^,  w.  8)4  in.  From 
the  collection  of  the  Marchese  del  Turco  at 
Florence. 

Presented  by  Mr,  James  E.  Scripps, 


32 


No.  36.    ALBERT  CUYP 

Landscape  with  Cattle 


PANINI,  GIOVANNI  PAOLO.    1691  or  1695-1764. 

22.    A  Ruined  Triumphal  Arch. 

Canvas:  h.  29  in.,  w.  24^  in.  From  the  collec- 
tion of  Major  Corbett-Winder  of  Vaynor  Park, 
Berriew,  Wales. 

Presented  by  Mr.  James  E.  Scripps. 


PEDRINI,  GIOVANNI,  called  GIAMPIETRINO. 
Early  XV  Century.    Milanese  School. 

23.    Salvator  Mundi  (The  Savior  of  the  World). 

Was  attributed  to  Leonardo  da  Vinci  when 
purchased.  The  above  ascription  to  Giampie- 
trino  is  made  by  Bernard  Berenson. 

Wood:  h.  26  in.,  w.  19  in.  This  picture  is  reputed 
to  have  belonged  to  the  Kings  of  France  down  to 
the  time  of  the  Revolution  of  1789.  It  was  later 
purchased  from  a  French  gentleman  by  a  Mr. 
Parke,  who  died  in  1821,  and  in  whose  family  it 
subsequently  long  remained.  In  1889  it  was 
sold  at  Christie's  in  London. 

Presented  by  Mr,  James  E.  Scripps. 


35 


RAMENGHI,  BARTOLOMMEO,  called 
BAGNACAVALLO.    1484-1542.    School  of  Bologna. 


24.    The  Virgin  Enthroned  with  St.  Amadio  and 
St.  Anthony. 

St.  Anthony  of  Egypt  stands  at  the  right  of  the 
picture  with  his  traditional  emblems,  the  crutch, 
the  bell,  the  black  pig,  the  fire  and  the  Greek  tau 
or  T  on  his  shoulder — the  first  letter  of  the  word 
Theos,  God.  St.  Amadio  stands  at  the  left  in 
the  robes  of  a  bishop  holding  the  model  of  a  city 
in  his  gloved  hands,  which  the  Holy  Child  leans 
forward  to  bless.  On  the  pedestal  of  the  Virgin's 
throne  is  an  inscription  in  Latin,  the  literal 
rendering  of  which  is:  '^I,  Peter  Demeo,  from 
Ceregia,  had  these  figures  made  for  my  devotion 
on  the  last  of  November,  1529.  Beneo.  Ramen- 
ghi  fecit."  St.  Anthony,  surnamed  the  Great, 
was  born  in  Egypt  in  251  and  died  in  365.  He 
was  rich  and  educated,  but  gave  all  his  property 
to  the  poor  and  retired  to  the  desert,  where  he 
spent  many  years  in  ascetic  solitude.  He  later 
organized  a  society  of  anchorites  and  thus  be- 
came the  founder  of  the  monastic  system.  The 
crutch  seen  in  his  pictures  symbolizes  his  age  and 
feebleness,  the  bell  his  power  to  exorcise  evil 
spirits;  the  pig  represents  the  demon  of  sen- 
suality which  Anthony  vanquished;  the  fire 
signifies  his  spiritual  aid  as  patron  saint  against 
fire  in  all  shapes,  in  the  next  world  as  well  as  in 
this. 

Wood:  h.  53  in.,  w.  44  in.  From  the  collection  of 
Giuseppi  Placidi  of  Rome. 

Presented  by  Mr.  James  E.  Scripps. 


36 


No.  43.    AIEINDERT  HOBBEMA 

A  River  Scene 


RENI,  GUIDO.    1575-1642.    School  of  Bologna. 

25.    Head  of  Christ  Crowned  with  Thorns. 

Wood:  h.  \9}4  in.,  w.  16  in. 

Presented  by  Mr.  James  E.  Scripps. 


RICCI  or  RIZZI,  PIETRO,  see  PEDRINI, 
GIOVANNI  (GIAMPIETRINO). 


SACCHI,  ANDREA.    1594  (.?)- 1661.    Roman  School. 

26.    The  Apparition  of  the  Virgin  to  St.  Philip 
Benozzi. 

St.  Philip  Beniti  or  Benozzi,  the  principal  orna- 
ment and  propagator  of  the  religious  order  of 
the  Servites  in  Italy,  was  a  member  of  a  noble 
Florentine  family.  Once  at  Mass  he  heard  the 
words  ''Draw  near  and  join  thyself  to  the  chariot" 
read  in  the  epistle  of  the  day.  Applying  them  to 
himself  he  considered  it  an  invitation  to  put  him- 
self under  the  patronage  of  the  Blessed  Virgin 
in  the  order  of  the  Servites.  The  following 
night  he  thought  he  beheld  the  Virgin  seated  in 
a  chariot,  calling  him  to  this  new  order.  He  took 
the  vows  in  1233. 

Canvas:  h.  53^  in.,  w.  39  in.  From  the  collec- 
tion of  the  late  Giuseppi  Placidi  of  Rome. 

Presented  by  Mr.  J ames  E.  Scripps. 


39 


SALVI,  GIOVANNI  BATTISTA,  called 
SASSOFERRATO.    1605-1685.    Roman  School. 

27.    The  Virgin. 

Closely  resembles  Raphael's  Madonna  of  the 
Pink  in  the  possession  of  Count  Spada  at  Lucca. 
Sassoferrato  freely  copied  Raphael's  designs. 

Canvas:  h.  29^  in.,  w.  23^  in.  Formerly  in  the 
Gillott  collection,  sold  in  1872. 

Presented  by  Mr.  James  E.  Scripps, 


SANO  DI  PIETRO.    1406-1481.    Sienese  School. 

28.    The  Coronation  of  the  Virgin. 

At  the  left  is  St.  Peter  with  book  and  keys,  and 
next  him  St.  John  the  Baptist,  with  cross,  scroll 
-  and  garment  of  skins.  On  the  right  is  St.  Paul 
with  sword  and  scroll,  and  by  him  another  aged 
saint  with  small  cross  and  book.  Under  the 
picture  is  the  Latin  inscription,  ''Veni  de  Libano 
....  Coronaberis,"  a  quotation  from  the  Vul- 
gate, Canticle  of  Canticles,  Chap.  IV,  ver.  8, 
translated,  "Come  from  Libanus,  thou  shalt  be 
crowned."  On  the  predella  or  base,  below  the 
inscription,  are  Mary  Magdalene,  Christ  rising 
from  a  sarcophagus,  and  the  Virgin  Mary. 

Wood:  arched,  h.  34^  in.,  w.  20><  in.  Pur- 
chased in  Siena. 

Presented  by  Mr.  James  E.  Scripps. 


40 


No.  44.    PETER  DE  HOOCH 
A  Dutch  Interior 


SARTO,  ANDREA  DEL,  see  AGNOLO, 
ANDREA  D'. 

SASSOFERRATO,  see  SALVI,  GIOVANNI 
BATTISTA. 

TISI,  BENVENUTO,  called  GAROFALO. 
1481-1SS9.    School  of  Ferrara. 

29.  The  Annunciation. 

Copper:  h.  18^  in.,  w.  13^  in.  On  the  back  of 
the  frame  is  an  old  inscription  reading:  "Ben- 
venuto  Garofalo,  Anno  1658." 

Presented  by  Mr.  James  E.  Scripps. 

TIZIANO,  VECELLIO,  called  TITIAN. 
1477 (.?) -1576.    Venetian  School. 

30.  The  Entombment  of  Christ. 

The  Savior  enveloped  in  a  winding  sheet  is 
carried  by  Joseph  of  Arimathea,  Nicodemus  and 
St.  John.  To  the  left,  Mary  Magdalene  supports 
the  Holy  Virgin. 

Canvas:  h.  54  in.,  w.  82}4  in.  This  picture  cor- 
responds closely  to  Titian's  famous  picture  of  the 
same  subject  in  the  Louvre,  Paris.  It  was 
formerly  the  property  of  Prince  Erizzo,  and  was 
purchased  in  Venice  in  1838  by  Lord  Monson,  in 
whose  collection  at  Gatton  Park,  Surrey,  England, 
it  remained  till  the  sale  of  the  collection  in  May, 

Presented  by  Mr.  James  E.  Scripps. 

31.  Nymph  AND  Satyr. 

Canvas:  h.  39  in.,  w.  3l3/^  in.  Claimed  to  have 
belonged  to  an  ancient  family  at  Cadore,  the 
birthplace  of  Titian. 

Presented  by  Mr.  James  E.  Scripps. 


43 


DUTCH  PAINTING 


BERCKHEYDE,  GERRIT.  1638-1698. 

32.  The  Groote  Kerk. 

The  Cathedral  of  St.  Bavon  at  Haarlem  seen  from 
the  corner  of  the  great  market  square  near  the 
town  hall,  which  stands  at  the  left  in  the  picture. 

Canvas:  h.  31^  in.,  w.  16j^  in.  From  the  col- 
lection of  Major  Corbett-Winder  of  Vaynor  Park, 
Berriew,  Wales. 

Presented  by  Mr,  James  E.  Scripps. 

BERCKHEYDE,  JOB.    1630  (.?) -1693. 

33.  The  Farm  Well. 

Was  attributed  to  Job  Berckheyde  when  pur- 
chased, but  Dr.  J.  O.  Kronig,  late  director  of  the 
Frans  Hals  Museum  at  Haarlem,  believes  it  to 
be  by  Emanuel  Murant  (1622-1700). 

Panel:  h.  15>^  in.,  w.  19  in.  From  the  Louis  R. 
Ehrich  collection,  sold  in  New  York,  January, 
1895. 

Presented  by  Mrs,  Harriet  J,  Scripps, 

BOTH,  JAN.  1610(?)-1652. 

34.  A  View  IN  the  Apennines. 

Wood:  h.  16j^  in.,  w.  24  in.  From  the  collection 
of  M.  Tence,  of  Lille,  sold  in  December,  1881. 

Presented  by  Mr.  James  E,  Scripps, 
44 


No.  52.    SOLOMON  RUYSDAEL 
A  View  of  Don,  Holland 


BREKELENKAM,  QUIRENUS.    1620 (?) -1668. 

35.  A  Vegetable  Stall. 

Wood:  h.  18^  in.,  w.  14^  in.  From  the  Corbett- 
Winder  collection. 

Presented  by  Mr.  James  E.  Scripps. 

CUYP,  ALBERT.  1620-1691. 

36.  Landscape  with  Cattle. 

Canvas:  h.  39^  in.,  w.  52^  in.  Signed  ^'A. 
Cuyp."  Exhibited  at  the  Royal  Irish  Art  Union 
exhibition  of  ancient  masters  in  1847,  when  it 
was  the  property  of  John  La  Touche. 

Presented  by  Mr.  James  E.  Scripps. 

DOU,  GERARD.  1613-1675. 

37.  The  Annunciation. 

Purchased  of  Charles  Sedelmeyer  of  Paris,  1897, 
who  said  of  it:  ''I  think  this  picture  can  be  as- 
cribed to  Gerard  Dow  when  he  worked  in  the 
studio  of  Rembrandt,  although  it  differs  from  the 
artist's  works  of  his  later  period.  It  is  not  so 
highly  finished  in  details  and  is  much  more 
vigorous  in  effect  and  richer  in  tone.  It  has 
evidently  been  executed  under  Rembrandt's  in- 
fluence, and  there  are  some  paintings  of  Gerard 
Dow's  early  period  which  show  the  same  qualities. 
The  color  of  the  dress  of  the  Virgin  is  most  char- 
acteristic of  Dow.  Dr.  Bode  and  Dr.  Julius 
Meyer  of  Berlin  think  also  that  it  is  possible  that 


47 


Dow  painted  this  picture.  It  was  in  the  Reimer 
collection  and  afterwards  in  that  of  Herr  van 
Kauffman,  Berlin."  Dr.  J.  O.  Kronig,  late  di- 
rector of  the  Frans  Hals  Museum  at  Haarlem, 
believes  it  to  be  by  Govaert  Flinck  (1615-1660). 

Presented  by  Mrs.  Harriet  J.  Scripps. 

DUJARDIN,  KAREL.  1622-1678. 

38.  The  Return  of  the  FIoly  Family  from  Egypt. 

Canvas:  h.  24^  in.,  w.  20  in.  Signed  on  a  stone 
at  the  left,  "K.  Dujardin  fe.  1662".  Two 
similar  subjects  are  described  in  Smith's  Cat- 
alogue Raisonne,  but  both  differ  from  this  in 
some  particulars.  From  the  collection  of  James 
Saunders,  Esq.,  of  Taplow  House,  near  Maiden- 
head, England,  where  it  was  seen  by  De  Waagen 
and  mentioned  in  his  ^'Treasures  of  Art  in  Great 
Britain."  Formerly  in  the  collection  of  Count 
Pourtales  in  Paris. 

Presented  by  Mr.  James  E.  Scripps, 

DUTCH  SCHOOL.    XVII  Century. 

39.  A  Fortress,  River,  and  Party  Landing  Boats. 

Panel:  h.  16  in.,  w.  21^  in.  Indistinctly  signed 
and  dated  169-,  the  last  figure  being  unde- 
cipherable. Resembles  the  work  of  Jan  Griffer, 
•a  Dutch  landscape  painter,  1656-1718.  Pur- 
chased in  Dresden,  1887. 

Pre s edited  hy  Mrs.  Harriet  J.  Scripps. 


48 


No.  69.    FLEMISH  SCHOOL 
The  Virgin  and  Infant  Jesus 


ENGELBRECHTSEN,  CORNELIUS.  1468-1533. 


40.    The  Last  Judgment. 

Was  attributed  to  Jerom  Bosche  (or  Bos)  when 
purchased.  The  above  ascription  to  Cornelius 
Engelbrechtsen  was  made  by  Dr.  J.  O.  Kronig, 
late  director  of  the  Frans  Hals  Museum  at 
Haarlem. 

Wood:  h.  22^  in.,  w.  23^  in.  This  picture  was 
formerly  in  the  collection  of  Louis  Philippe,  last 
King  of  the  French,  and  more  recently  in  that 
of  John  Neuwenhuys,  of  Brussels,  an  eminent 
connoisseur. 

Presented  by  Mr.  James  E.  Scripps. 

GOYEN,  JAN  VAN.  1596-1656. 

4L    A  River  Scene. 

Was  attributed  to  Jan  van  Goyen  when  purchased, 
but  Dr.  J.  O.  Kronig,  late  director  of  the  Frans 
Hals  Museum  at  Haarlem,  believes  it  to  be  by 
Wouter  Knyff,  a  XVH  Century  Dutch  painter. 
Wood:  h.  lS3/(  in.,  w.  24  in.  From  the  collection 
of  T.  J.  Ireland,  Esq.,  M.  P.,  of  Suffolk,  England. 

Presented  by  Mr.  James  E.  Scripps. 

HEUSCH,  WILLIAM  DE.    1625 (?) -1692. 
42.    An  Italian  Landscape. 

Wood:  h.  17  in.,  w.  14^  in.  From  the  Corbett- 
Winder  collection. 

Presented  by  Mr.  James  E.  Scripps. 


51 


HOBBEMA,  MEINDERT.  1638-1709. 

43.  A  River  Scene. 

Wood :  h.  18^  in.,  w.  243^  in.  Signed  in  the  lower 
left-hand  corner,  "M.  Hobbema,  1648."  The 
third  figure  is  indistinct. 

Presented  by  Mr.  James  E.  Scripps, 

HOOCH,  PETER  DE.    1629-1677(  ?). 

44.  A  Dutch  Interior. 

Canvas:  h.  31>^  in.,  w.  23>^  in.  Signed  'T.  d. 
Hoogh"  on  the  rocker  of  the  cradle.  From  the 
collection  of  Count  Montgermont  of  Paris. 

Presented  by  Mr.  J  antes  E.  Scripps. 

JARDIN,  KAREL  DU,  see  DUJARDIN,  KAREL. 

KESSEL,  JAN  VAN.  1626-1679. 

45.  Water. 

Copper:  h.  8  in.,  w.  11^  in.  From  the  Corbett- 
Winder  collection,  sold  in  London  in  1889. 

Presented  by  Mr.  James  E.  Scripps, 

LUNDENS,  GERRIT.    1622-1677  ( .^). 

46.  Housewife  Cleaning  Fish. 

The  cabbage  in  this  picture  greatly  resembles 
one  in  a  picture  in  the  Brussels  Museum,  by 
Quiryn  Brekelenkam,  a  Dutch  painter  who  died  in 
1668,  while  the  general  character  of  the  work  is 
very  much  the  same. 

Panel:  h.  17  in.,  w.  28  in.  From  the  Ehrich  sale, 
1895. 

Presented  by  Mrs.  Harriet  J.  Scripps. 


52 


No.  71.    QUENTIN  MASSYS 
The  Virgin  and  Infant  Jesus 


NEER,  AERT  VAN  DER.  1603-1677. 
47.    A  River  Scene. 


Wood:  h.  llyi  in.,  w.  19^^  in.  From  the  Corbett- 
Winder  collection.  Exhibited  at  the  Royal  Acad- 
emy exhibition  of  the  works  of  the  old  masters  in 
1888. 

Presented  hy  Mr.  James  E.  Scrtpps. 

48.  Moonlight  Scene  in  Amsterdam. 

Panel:  h.  8  in.,  w.  12  in.  From  the  F.  Ricketts 
collection,  London. 

Presented  hy  Mrs.  Harriet  J.  Scrtpps, 

POEL,  EGBERT  VAN  DER.    1621(  ?)-1664. 

49.  The  Oyster  Stall. 

.  Panel:  h.  10^  in.,  w.  10}4  in.  From  the  Corbett- 
Winder  collection,  sold  in  London  in  1889.  Signed 
in  lower  left-hand  corner. 

Presented  by  Mrs.  Harriet  J.  Scripps. 

POELEMBURG,  CORNELIUS  VAN.  1568-1667. 

50.  Landscape. 

Wood:  h.  S}4  in.,  w.  8^  in.  From  the  Corbett- 
Winder  collection. 

Presented  by  Mr.  James  E.  Scripps, 


55 


ROOS,  PHILIP,  called  ROSA  DA  TIVOLI. 
'  1652-1705. 

51.  A  Military  Encampment. 
Canvas:  h.  50  in.,  w.  64  in. 

Presented  by  Mr.  James  E.  Scripps. 

ROSA  DA  TIVOLI,  see  ROOS,  PHILIP. 

RUYSDAEL,  SOLOMON  VAN.  1600(.^)-1670. 

52.  A  View  OF  DoRT,  Holland. 

Canvas:  h.  39  in.,  w.  53^  in.  From  the  Corbett- 
Winder  collection.  A  picture  answering  this 
description  was  sold  in  the  collection  of  Robert 
Strange,  the  famous  engraver,  in  1771.  Signed 
and  dated  on  the  boat  in  the  foreground,  ''S. 
Ruysdael,  1643." 

Presented  by  Mr.  James  E.  Scripps. 

RYN,  REMBRANDT  HARMENSZ  VAN, 
called  REMBRANDT.  1606-1669. 

53.  The  Death  OF  LucRETiA. 

Was  attributed  to  Rembrandt  when  purchased, 
but  Dr.  J.  O.  Kronig,  late  director  of  the  Frans 
Hals  Museum  at  Haarlem,  believes  it  to  be  by 
Gerrit  Horst,  who  worked  between  1640  and  1650. 

Canvas:  h.  67  in.,  w.  86>^  in.  Formerly  in  the 
possession  of  the  Farsetti  family  at  Venice,  from 
whom    it    was    purchased    by   Woodburn,  the 


56 


No.  75.  PETER  PAUL  RUBENS 
Abigail  Meeting  David  with  Presents 


celebrated  dealer  and  expert,  in  1838,  for  600 
guineas.  It  was  sold  by  him  to  Lord  Monson, 
who  was  forming  a  very  valuable  collection  at 
Gatton  Park,  Surrey,  England,  which  collection 
was  dispersed  in  1888.  Nos.  30  and  74  of  this 
catalogue  were  acquired  from  the  same  important 
collection.  A  picture  of  the  death  of  Lucretia 
by  Rembrandt  is  mentioned  by  Vosmaer  and 
Scheltemaas  as  being  in  the  collection  of  Abraham 
Wijs  and  Sara  di  Potter  in  1658.  A  Lucretia  by 
Rembrandt  was  sold  in  Mr.  Zachary's  collection 
in  1826,  and  was  bought  by  Sir  Thomas  Lawrence, 
president  of  the  Royal  Academy. 

Presented  by  Mr.  James  E.  Scripps. 


SAFTLEVEN,  HERMAN,  the  Younger.  1609-1685. 

54.  A  Winter  Scene. 

Wood:  h.  10^  in.,  w.  14  in.  From  the  collection 
of  C.  J.  Knight,  F.  S.  A.,  of  London. 

Presented  by  Mr.  James  E.  Scripps. 

STEEN,  JAN.    1626 (?) -1679. 

55.  Gamblers  Quarreling. 

Canvas:  h.  27^  in.,  w.  34^  in.  Signed  "J. 
Steen,"  the  J  and  the  S  forming  a  monogram. 
Described  in  Smith's  Catalogue  Raisonne,  Vol. 
IV,  p.  25,  No.  80.  Sold  in  the  collection  of  M. 
Van  der  Pot  in  1808  for  500  florins.  Later  in  the 
Corbett-Winder  collection.  Exhibited  in  the 
Royal  Academy  exhibition  of  old  masters  in  1879. 

Presented  by  Mr.  James  E.  Scripps. 


59 


VELDE,  ADRIAN  VAN  DER.    1635  or  1636-1672. 

56.  Landscape  with  Cattle.  ' 

Canvas:  h.  15  in.,  w.  19^  in.  From  the  collection 
of  C.  J.  Knight,  F.  S.  A.,  of  London. 

Presented  by  Mr.  James  E.  Scripps. 

VELDE,  WILLIAM  VAN  DER,  the  Younger. 
1633-1707. 

57.  A  Marine  View. 

Wood:  h.  in.,  w.  7%  in.  Signed  "W.  V.  V." 
Sold  in  the  J.  E.  Fordham  collection  in  1867  for 
200  guineas  (over  ?1,000). 

Presented  by  Mr.  James  E.  Scripps. 

I 

VERBOOM,  ADRIAN.  Worked  in  the  third  quarter 
of  the  XVII  Century. 

5*8.    A  W^ooDY  Landscape. 

Was  attributed  to  Jacob  van  Ruysdael  when 
purchased.  The  above  ascription  to  Adrian  Ver- 
boom  is  made  by  Dr.  A.  Bredius,  late  director 
and  at  present  advisor  of  the  Royal  Picture 
Gallery  at  The  Hague. 

Wood:  h.  15^^  in.,  w.  13^  in. 

Presented  by  Mr,  James  E.  Scripps. 


60 


No.  78.    CORNELIUS  DE  VOS 

Franz  Snyders  and  his  Wife 


VLIEGER,  SIMON  DE.  1601-1653. 

59.    A  Calm  on  the  Banks  of  the  Meuse. 

Wood:  h.  18j4>  in.,  w.  26^  in.  Signed  ''S.  de 
Vlieger,  1642". 

Presented  by  Mr,  James  E.  Scripps. 


VLIET,  HENDRICK  VAN.  1612-1675. 
60.    Interior  of  a  Dutch  Church. 

Wood:  h.  10  in.,  w.  8^  in.  From  the  Corbett- 
Winder  collection. 

Presented  hy  Mr.  James  E,  Scripps, 


VOORT,  CORNELIUS  VAN  DER.  1576-1632. 

61.  Portrait  of  Tycho  Brahe,  the  Eminent 
Astronomer,  Decorated  with  the  Cross  of 
the  Order  of  St.  Lazarus. 

The  above  ascription  to  Cornelius  van  der  V^oort 
is  made  by  Dr.  A.  Bredius,  late  director  and  at 
present  advisor  of  the  Royal  Picture  Gallery  at 
The  Hague. 

The  Order  of  St.  Lazarus  was  a  military  and 
religious  order  dating  from  the  occupation  of 
Jerusalem  by  the  first  crusaders.  In  time  it 
became  a  French  civil  corporation  and  continued 
until  superseded  by  the  Legion  of  Honor. 

Canvas:  h.  32^  in.,  w.  26  in.  Formerly  in  the 
collection  of  the  Earl  of  Hardwicke,  at  Wimpole, 
Cambridgeshire. 

Presented  by  Mr.  James  E.  Scripps. 


63 


WERFF,  PETER  VAN  DER.  1665-1722. 

62.  The  Magdalene. 

Wood:  h.  14^  in.,  w.  10^  in.  From  the  Cor- 
bett-Winder  collection. 

Presented  by  Mr.  James  E.  Scripps. 

WITTE,  EMANUEL  DE.  1617-1692. 

63.  Interior  of  a  Protestant  Church  in  Holland. 

*  Wood:  h.  17  in.,  w.  13f^  in.  From  the  Corbett- 
Winder  collection.  Exhibited  at  the  Royal  Acad- 
emy exhibition  of  old  masters  in  1879. 

Presented  by  Mr.  James  E.  Scripps. 


WOUVERMAN,  PHILIP.  1619-1668. 
64.    A  Man  Mounted  on  a  White  Horse. 
Wood:  h.  9ys  in.,  w.  11^  in. 

Presented  by  Mr.  James  E.  Scripps. 


65.    The  Repose  of  the  Hawking  Party. 

Panel:  h.  19  in.,  w.  25><  in.  Signed  'Th.  W." 
From  the  Ehrich  sale,  1895. 

Presented  by  Mrs.  Harriet  J.  Scripps, 


WYNANTS,  JAN.    1625  ( 1)  -1684. 
66.    A  Landscape  with  Figures. 

Panel:  h.  XSyi  in.,  w.  19^  in.  Purchased  from 
Charles  Sedelmeyer,  1900. 

Presented  by  Mrs.  Harriet  J.  Scripps. 


64 


No.  79.    JOHN  HOPPNER 

Portrait  of  Sir  Thomas  Hardwicke 


GERMAN  PAINTING 


DIETRICH,  or  DIETRICY,  CHRISTIAN 
WILHELM  ERNST.  1712-1774. 

67.    The  Expulsion  of  Hagar. 

Copper:  h.  13)4  in.,  w.  19^  in.  Signed  and 
dated  1767. 

Presented  by  Mr.  James  E.  Scripps. 


67 


FLEMISH  PAINTING 

BRUEGHEL,  JAN,  the  Elder,  called  VELVET 
BRUEGHEL.  1568-1625. 

68.  A  Village  Scene. 

Copper:  h.  9%  ii^-j  w.  \2yi  in.  From  the  Corbett- 
Winder  collection. 

Presented  by  Mr.  James  E.  Scripps, 

FLEMISH  SCHOOL.   XV  Century. 

69.  The  Virgin  and  Infant  Jesus. 

Painter  unknown,  but  the  delicately  shaded  face 
of  the  Mother,  the  peculiarly  shaped  eyes  and 
the  long,  slender  fingers  suggest  the  style  of 
Roger  van  derWeyden  (1399-1464). 

Wood:  h.  20^  in.,  w.  13>^  in.  Purchased  in 
Cologne. 

Presented  by  Mr.  James  E.  Scripps. 

GOES,  HUGO  VAN  DER.    1440  ( .^)  -1482. 

70.  The  Virgin. 

Wood:  h.  27 }4  in.,  w.  22  in.  From  the  private 
collection  of  a  former  director  of  the  Uffizi 
Gallery,  Florence. 

Presented  by  Mr.  James  E.  Scripps. 


68 


.  80.    WILLIAM  OWEN 

A  Child  with  a  Kitten 


MASSYS,  QUENTIN.  1466-1530. 


71.    The  Virgin  AND  Infant  Jesus. 

Wood:  h.  21^  in.,  w.  15^  in.  From  the  private 
collection  of  Signor  Casa  Murata,  director  of  the 
Pitti  Palace  Gallery,  Florence,  under  the  last 
Grand  Duke  of  Tuscany. 

Presented  by  Mr.  James  E.  Scrtpps, 


NEEFS,  PETER,  the  Elder.    1577  or  1578-1660. 

72.    Interior  of  a  Gothic  Cathedral. 

Panel:  h.  10)4  in.,  w.  14^  in.  From  the  Corbett- 
Winder  collection,  sold  in  London  in  1889. 

Presented  by  Mrs.  Harriet  J.  Scripps. 


PATINIR,  JOACHIM  (Attributed  to).  1480 (?) -1524. 

73.    A  Small  Triptych  Altarpiece. 

Central  Panel:  the  Crucifixion,  with  a  city  (Jeru- 
salem) in  the  distance  and  the  Virgin  and  St. 
John  standing  on  either  side  of  the  cross.  Left 
wing,  St.  Jerome,  with  his  attendant  lion;  right 
wing,   Mary  Magdalene. 

Wood:  center  panel,  h.  73^2  ii^-?  w.  5  in.;  side 
panels,  h.  83^  in.,  w.  2}/2  in.  From  the  collection 
of  C.  J.  Knight,  F.  S^.  A.,  of  London. 

Presented  by  Mr.  James  E.  Scripps. 


71 


REYMERSWALE,  MARINUS  VAN. 


74.    The  Misers. 

(A  replica  of  the  picture  in  Windsor  Castle). 

Was  attributed  to  Quentin  Massys  when  pur- 
chased. 

Canvas:  h.  46^^  in.,  w.  38  in.  From  the  Gatton 
Hall  collection  formed  in  the  early  part  of  the 
century  by  Lord  Monson  and  dispersed  in  1888. 

Presented  by  Mr.  James  E.  Scripps. 


RUBENS,  PETER  PAUL.  1577-1640. 

75.    Abigail  Meeting  David  with  Presents. 

Max  Rooses,  the  great  authority  on  the  works  of 
Rubens,  was  of  the  opinion  that  Rubens  was 
aided  in  this  work  by  his  pupils,  but  that  he 
himself  put  the  finishing  touches  to  the  principal 
parts,  especially  the  figures  and  the  sky  at  the 
right.  He  observed  that  the  outlines  are  clear 
and  the  tone  warm.  He  judged  the  picture  to 
have  been  painted  about  1618,  which  was  during 
Rubens's  best  period.  He  traced  its  history 
through  the  Duke  of  Richelieu,  the  Duke  of 
Gramont  (1715),  Jacques  Meyer  of  Rotterdam 
(1722),  the  Count  of  Plettenberg  and  Wittem 
(1788),  and  Paul  Methuen  (1830).  At  the  sale 
of  Methuen's  pictures  it  brought  1,500  guineas 
(?7,700). 

Canvas:  h.  69  in.,  w.  98  in.  Described  in  Smith's 
Catalogue  Raisonne,  Vol.  II,  p.  170.  It  was  last 
sold  with  M.  Secretan's  other  pictures  in  Paris, 


72 


No.  81.    SIR  JOSHUA  REYNOLDS 
Portrait  of  Sir  Brooke  Boothby 


July  2,  1889,  when,  according  to  the  French 
paper  La  Liberte,  it  was  bid  for  by  the  French 
government  up  to  155,500  francs.  It  was  finally 
knocked  down  at  117,000  francs  (?23,520). 

Presented  by  Mr.  James  E.  Scripps. 

STEENWYCK,  HENDRICK  VAN,  the  Younger. 
1580-1649. 

76.    Christ  in  the  House  of  Martha  and  Mary. 

Copperih.  13>^in.,  w.  19in.  Signed '^H.V. S."  A 
similar  picture  by  the  same  artist,  but  on  canvas 
and  25^  inches  high  by  38  inches  wide,  is  in  the 
gallery  of  the  Louvre  at  Paris.  This  also  bears 
the  date  1620,  but  the  signature,  ''Henri  V. 
Steinwick,"  is  spelled  out  in  full.  The  Detroit 
picture  was  purchased  of  Martin  Colnaghi,  Lon- 
don, one  of  the  best  experts  in  old  paintings  at 
the  time. 

Presented  by  Mr.  James  E.  Scripps. 


TENTERS,  DAVID,  the  Younger.  1610-1690. 

77.    A  Room  in  an  Inn. 

Canvas:  h.  13^  w.  164<(  in.  Signed  ''D.  T.  F. 
(David  Teniers  fecit),  1644."  Purchased  in 
Leipsic,  where  its  genuineness  was  attested  in 
writing  by  Dr.  Schreiber,  director  of  the  Leipsic 
gallery,  and  Professor  Anton  Springer,  well- 
known  writer  on  art. 

Presented  by  Mr.  James  E.  Scripps. 


75 


VOS,  CORNELIUS  DE.  1585-1651. 


78.    Double  Portrait  of  Franz  Snyders,  the  Great 
Flemish  Animal  Painter,  and  His  Wife. 

Snyders  was  the  contemporary  and  friend  of 
Rubens,  who  frequently  employed  him  to  paint 
the  animals,  fruit,  etc.,  in  his  pictures.  He  was 
born  in  1579  and  died  in  1657.  The  couple  in 
this  picture  appear  to  be  twenty-eight  or  thirty 
years  old,  which  would  make  the  date  of  the  pic- 
ture about  1608. 

Canvas:  h.  47  in.,  w.  60  in.  Formerly  in  the 
collection  of  Henry  Nugent  Banks,  a  well-known 
English  connoisseur. 

Presented  by  Mr,  James  E.  Scripps. 


76 


No.  82.  RICHARD  WILSON 
A  Classical  Landscape  and  Ruins 


ENGLISH  PAINTING 


HOPPNER,  JOHN.    R.  A.  1758-1810. 

79.    Portrait  of  Sir  Thomas  Hardwicke,  English 
Architect. 

Canvas:  h.  30  in.,  w.  25  in. 

Presented  by  Mr.  Edward  C.  Walker^  1913, 


OWEN,  WILLIAM.    R.  A.  1769-1825. 
80.    Child  with  a  Kitten. 

Canvas:  h.  25  in.,  w.  21^  in. 

Purchased  by  the  Detroit  Museum  of  Art  Founders 
Society  and  presented  to  the  Institute,  1919. 


REYNOLDS,  SIR  JOSHUA.    P.  R.  A.  1723-1792. 

81.    Portrait  of  Sir  Brooke  Boothby,  Bart. 

Canvas:  h.  29  in.,  w.  24  in.  Engraved  by  J.  R. 
Smith,  1797.  Catalogued  in  Armstrong's  ''Rey- 
nolds," p.  195.  Exhibited  in  the  Derby  (Mid- 
land Counties)  Exhibition,  1870. 

Purchased  from  City  Appropriation,  1919. 


79 


WILSON,  RICHARD.    R.  A.  1713-1782. 


82.    A  Classical  Landscape  and  Ruins. 

Canvas:  h.  14  in.,  w.  21  in.  Signed.  From  the 
collection  of  Gilbert  Craig,  Esq.,  of  Edinburgh. 
Lamoriniere  sale,  1899. 

Presented  by  Mrs,  Harriet  J.  Scripps, 


80 


No.  86.    CLAUDE  LORRAIN 
A  Seaport 


FRENCH  PAINTING 

BORGOGNONE,  see  COURTOIS,  JACQUES. 
BOUCHER,  FRANCOIS.  1703-1770. 

83.  Venus  Ordering  of  Vulcan  Arms  for  Aeneas. 

Canvas:  h.  24^  in.,  w.  20  in.  From  the  col- 
lection of  the  late  William  Henry  Hurlbut  of 
New  York.  This  picture  is  very  similar  in 
treatment  to  a  large  picture  in  the  Louvre,  Paris, 
in  which  the  figures  are  life  size.  The  latter  is 
dated  1732,  and  this  work  is  no  doubt  of  the  same 
period,  if  not  indeed  a  study  for  the  larger  work. 

Presented  by  Mr,  James  E.  Scripps, 

CLAUDE  LORRAIN,  see  GELLfiE,  CLAUDE. 

COURTOIS,  JACQUES,  called  BORGOGNONE. 
1621-1676. 

84.  A  Battle  Scene. 

Copper:  h.  16  in.,  w.  22^  in.  From  the  collec- 
tion of  the  Duke  of  Hamilton. 

Presented  by  Mr.  James  E.  Scripps, 

85.  A  Battle  Scene. 

Canvas:  h.  13^  in.,  w.  22  in.  From  the  collec- 
tion of  T.  J.  Ireland,  Esq.,  M.  P.  Sold  in  London, 
1889. 

Presented  by  Mrs.  Harriet  J.  Scripps. 


83 


GELLfiE,  CLAUDE,  called  CLAUDE  LORRAIN. 
1600-1682. 


86.    A  Seaport. 

Canvas :  h.  39  in.,  w.  S3  in.  Referred  to  in  Smith's 
Catalogue  Raisonne,  Vol.  VIII,  p.  194.  It  is  a 
replica  with  slight  variations  of  No.  2  of  Claude's 
Liber  Veritatis,  an  illustrated  catalogue  kept  by 
the  artist  of  his  own  works.  For  a  long  time  in 
the  collection  at  Leigh  Court,  Somersetshire,  Eng- 
land, at  the  sale  of  which,  in  1884,  it  was  pur- 
chased for  the  Detroit  Museum  of  Art. 

Presented  by  Mr.  James  E.  Scripps. 


VERNET,  CLAUDE  JOSEPH.  1714-1789. 

87.    The  Shipwreck. 

Canvas:  h.  27  in.,  w.  40  in. 

Presented  by  Mr.  Edwin  F,  Conely,  1896. 


84 


No.  88.    BARTOLOME  ESTEBAN  MURILLO 
The  hnmaculate  Conception 


SPANISH  PAINTING 

GRECO,  El,  see  THEOTOCOPULI,  DOMENICO. 

MURILLO,  BARTOLOMfi  ESTEBAN. 
1617-1682. 

88.    The  Immaculate  Conception. 

Murillo's  most  famous  pictures  are  his  represen- 
tations of  the  Immaculate  Conception,  so  called, 
of  which  there  are  known  to  be  twenty-five  in 
existence,  no  two  entirely  alike.  One  of  the 
best  of  these  is  in  the  Louvre,  in  Paris.  In  those 
in  which  the  Virgin  is  represented  with  dark 
hair,  the  artist  is  said  to  have  taken  his  daughter 
Francisca  as  a  model. 

The  doctrine  of  the  Immaculate  Conception,  or 
sinless  nature  of  the  Virgin  Mary,  was  agitated 
as  early  as  the  V  Century.  In  the  XI  Century 
it  was  proposed  to  make  it  an  article  of  belief, 
but  it  was  postponed  through  the  influence  of 
St.  Bernard.  In  the  XIII  Century  it  was  advo- 
cated by  the  learned  Duns  Scotus,  but  was  suc- 
cessfully opposed  by  the  great  theologian,  St. 
Thomas  Aquinas.  In  1615  the  teaching  of  a 
contrary  doctrine  was  prohibited  by  papal  bull. 
About  the  same  time  Pacheco,  a  Spanish  inquisi- 
tor and  inspector  of  sacred  pictures,  laid  down 
rules  to  be  followed  in  pictorial  representations 
of  the  dogma.  The  Virgin  was  to  be  portrayed 
in  the  bloom  of  youth,  with  all  the  beauty  paint- 
ing could  express,  her  hands  to  be  folded  on  her 
bosom  or  joined  in  prayer.  She  was  to  be  sur- 
rounded by  a  flood  of  light  with  the  moon  under 
her  feet;  her  robe  to  be  of  spotless  white,  and  the 


87 


mantle,  or  scarf,  blue.  Around  her  were  to  hover 
cherubs  bearing  roses,  palms  and  lilies.  Murillo 
did  not  always  adhere  rigidly  to  these  rules,  but 
his  orthodoxy  was  never  questioned. 

Canvas:  h.  78  in.,  w.  S3  in.  This  picture  was 
taken  from  the  Royal  Palace,  Madrid,  during 
the  Peninsular  War,  by  the  French  General  De- 
solle,  whose  daughter  sold  it  to  Woodburn,  a 
well-known  London  dealer.  He  in  turn  sold  it 
to  the  King  of  Holland.  At  the  sale  of  the  King's 
pictures,  August  12,  1850,  it  was  bid  in  at  about 
315,480.  In  1857  it  was  sold  to  W.  H.  Aspin- 
wall,  of  New  York,  at  whose  death  it  was  sent  to 
London  to  be  sold,  where  it  was  purchased  for 
the  Detroit  Museum.  A  wood  engraving  of  it 
appeared  in  Harper's  Weekly,  June  30,  1858.  It 
is  No.  84  in  Charles  B.  Curtis's  catalogue  of  the 
works  of  Murillo,  page  132. 

Presented  by  Mr.  James  E.  Scripps. 


The  Martyrdom  of  St.  Andrew. 

Canvas:  h.  51  in.,  w.  66  in.  From  the  collection 
of  Sir  Philip  Miles,  of  Leigh  Court,  Somerset- 
shire, England,  sold  in  1884.  It  is  numbered  238 
in  Curtis's  catalogue,  page  210.  A  replica,  a  little 
smaller  in  size,  is  in  the  royal  gallery  of  the  Prado, 
in  Madrid. 

Presented  hy  Mr.  James  E.  Scripps. 


88 


No.  95.    MARIE  ROSA  BONHEL  R 

Deer  in  Repose 


90.  St.  Francis  of  Assisi. 

St.  Francis  was  born  at  Assisi,  Italy,  in  1182.  He 
founded  the  famous  Franciscan  Order  about  1210. 
He  visited  Palestine  as  a  crusader  in  1220  and 
died  in  1226. 

Canvas:  h.  11%  in.,  w.  18>^  in.  Purchased  of 
Charles  Sedelmeyer,  Paris,  1897.  From  the  col- 
lection of  H.  A.  J.  Munro,  sold  in  London,  1878. 
No.  300  in  C.  B.  Curtis's  catalogue  of  the  works 
of  Murillo. 

Presented  by  Mrs.  Harriet  J.  Scrtpps. 

RIBERA,  JUSEPE  DE,  called  LO 
SPAGNOLETTO.  1588-1656. 
(Also  claimed  by  Neapolitan  School). 

91.  Head  of  an  Old  Man. 

Canvas:  h.  21^  in.,  w.  19  in.  Formerly  in  the 
collection  of  Louis  Philippe,  King  of  the  French. 

Presented  by  Mr.  James  E.  Scripps. 

THEOTOCOPULI,  DOMENICO,  called  EL 
GRECO.    Between  1545  and  1550-1614. 

92.  The  Betrayal. 

The  above  ascription  to  El  Greco  is  made  by  Dr. 
J.  O.  Kronig,  late  director  of  the  Frans  Hals 
Museum  at  Haarlem,  who  says  it  is  an  early 
w^ork. 

Canvas:  h.  31  in.,  w.  36  in. 

Bequest  of  Mrs.  Elizabeth  H.  Coots,  1904,  in  the 
name  of  her  husband,  Honorable  Walter  H.  Coots. 


91 


MISCELLANEOUS  PAINTINGS: 
NINETEENTH  CENTURY 


ALMA-TADEMA,  LAURENZ.    1836-1912.  English. 

93.  The  Exedra  Seat. 

Wood  Panel:  h.  I5l4  ii^->  w.  24  in. 

D.  M.  Ferry  Collection^  presented  by  Mrs.  Queene 

Ferry  Coonley,  1920. 

AUBERT,  ERNEST  JEAN.    1824-1906.  French. 

94.  Love  Wins. 

Canvas:  h.  39>2  in.,  w.  29  in. 

D.  M.  Ferry  Collection,  presented  by  Mrs.  Queene 
Ferry  Coonley,  1920. 

BONHEUR,  MARIE  ROSA.    1822-1899.  French. 

95.  Deer  in  Repose. 
Canvas:  h.  41  in.,  w.  33  in. 

D.  M.  Ferry  Collection,  presented  by  Mrs.  Queene 
Ferry  Coonley,  1920. 

BOUGUEREAU,  WILLIAM  ADOLPHE. 
1825-1905.  French. 

96.  Sisters  on  the  Shore. 
Canvas :  h.  56  in.,  w.  36  in. 

Presented  by  Mr.  Charles  Willis  Ward,  1909. 

CHABAS,  MAURICE. 

97.  Serenite. 

Canvas:  h.  47^  in.,  w.  633^  in. 

Presented  by  Mr.  Frederick  K.  Stearns,  1912. 


92 


No.  112.    JOSEF  ISRAELS 

The  Young  Mother 


CHIALIVIA,  LUIGI.  Swiss. 

98.  Pet  Lamb. 

Canvas:  h.  25  in.,  w.  40  in. 

Presented  by  Mr.  Charles  Willis  Ward^  1912, 

DIAZ  DE  LA  PENA,  NARCISSE  VIRGILIO. 
1808-1876.  French. 

99.  Turkish  Women. 
Canvas:  h.  20  in.,  w.  25^  in. 

D.  M.  Ferry  Collectioriy  presented  by  Mrs,  Queene 
Ferry  Coonley^  1920, 

DUPRE,  JULIEN.    1851-1910.  French. 

100.  In  THE  Valley. 

Canvas:  h.  36  in.,  w.  43^  in. 

Presented  by  Mrs,  Grace  Whitney  Hoff^  1911. 

GINNANESCHI,  EMILIA  J.  Italian. 

101.  The  Coronation  of  the  Virgin. 

Copy  after  Fra  Angelico's  painting  in  the  Uffizi, 
Florence. 

Panel:  24  in.  square. 

Presented  by  Miss  Caroline  A.  Godfroy,  1906. 

GRAVESANDE,  CHARLES  STORM  VAN'S. 
1841-  .  Dutch. 

102.  Dordrecht. 

•     103.  The  Maas  OFF  Dordrecht. 
104.  Spring. 

95 


105.  The  Red  Nosed  Boat. 

106.  The  Meuse  at  Rotterdam. 

107.  Original  Water  Color  Drawing  of  an 
Etching. 

108.  Original  Water  Color  Drawing  of  Etching 
No.  21. 

Water  Colors. 

From  the  Charles  L.  Freer  Collection  of  Van^s 
Gravesande^s  Etchings,  Drawings  and  Water  Colors 
presented  to  the  Museum,  1905. 

HERRMANN,  HANS.  Dutch. 

109.  A  Bit  of  Amsterdam. 

W^ater  Color:  h.  20  in.,  w.  14  in. 

Presented  by  Mr.  Edward  C.  Walker,  1907. 

ISABEY,  EUGENE  LOUIS  GABRIEL.  1804-1886. 
French. 

110.  The  Wreck. 

Canvas:  h.  38  in.,  w.  30 in. 

Presented  by  Mr.  Edward  C.  Walker,  1907. 

111.  Grandfather's  Armor. 

Wood  Panel:  h.  17>^  in.,  w.  24>^  in. 

D.  M.  Ferry  Collection,  presented  by  Mr.  D.  M. 
Ferry^  Jr.^  1920. 

ISRAELS,  JOSEF.    1824-1911.  Dutch. 

112.  The  Young  Mother. 
Canvas:  h.  16^  in.,  w.  26  in. 

Presented  by  Mr.  Charles  Willis  Ward,  1910. 


96 


No.  113.    JOSEF  ISRAELS 
Living  in  the  Past 


113.  Living  in  the  Past. 

Canvas:  h.  24  in.,  w.  30  in. 

£).  M.  Ferry  Collection,  presented  by  Mr,  Z).  M. 
Ferry,  Jr,,  1920. 

IWILL,  M.  J.    1850-1910(?).  French. 

114.  Evening  on  the  Dunes. 
Canvas:  h.  20  in.,  w.  30  in. 

Presented  hy  Mr,  Charles  L,  Borgmeyer  of  New 
York,  1910, 

LaTOUCHE,  GASTON.    1848-1913.  French, 
lis.  Hallali. 

Canvas:  h.  71  in.,  w.  79  in.  Formerly  owned  by 
Madame  LaTouche. 

Purchased  from  the  General  Membership  and  Dona- 
tions Fund,  1917, 

LESSORE,  JULES.   -1876.  French. 

116.  New  York  Harbor. 

Water  Color:  h.  42  in.,  w.  39  in. 

Presented  by  Mr.  Edward  C.  Walker,  1913. 

LIEB,  MICHAEL,  called  MIHALY  DE 
MUNKACSY.    1844-1900.  German. 

117.  The  Last  Hours  of  Mozart. 

Canvas:  h.  8  ft.  8  in.,  w.  12  ft.  5  in. 

Presented  by  Mrs.  Henry  D.  Sheldon,  Mr.  Russell 
A.  Alger  and  Mr.  F.  M.  Alger,  1919, 


99 


MANCINI,  ANTONIO.    1852-  .  Italian. 

118.  Professor  "M"  with  Halo. 

Water  Color  and  Pastel :  h.  24>^  in.,  w.  18>^  in. 
From  the  collection  of  the  late  Hugo  Reisinger, 
sold  in  New  York,  1916. 

Purchased  from  the  Kate  Minor  Fund,  1916, 

MUNKACSY,  MIHALY  DE,  see  LIEB, 
MICHAEL. 

NAKAGAWA,  HACHIRO.  1878-  .  Japanese. 

119.  Morning  ON  THE  River. 
Water  Color:  h.  19>^  in.,  w.  26  in. 

Purchased  from  contributions,  1906, 

120.  The  Temple  of  Kasuga. 
Water  Color:  h.  20  in.,  w.  13  in. 

Presented  by  Mr.  W,  K,  Bradish, 

PERELMA,  OSSIP.    1876-  .  Russian. 

121.  Portrait  of  Mr.  Henry  W.  Booth. 

Canvas:  h.  70  in.,  w.  SQ}4  in. 

Presented  by  Mr.  George  G.  Booth  and  Mr,  Ralph 
H.  Booth,  1918, 

PERRAULT,  LfiON  BAZILE.  French. 

122.  Cupid  Captured. 

Canvas:  h.  58^  in.,  w.  41^  in. 

D.  M.  Ferry  Collection,  presented  by  Mr.  D.  M. 
Ferry,  Jr.,  1920. 

100 


115.    GASTON  LaTOUCHE 
Hallali 


I 


PUTZ,  LEO.    1869-  .  German. 

123.  HOCHSOMMER. 

Canvas :  h.  45^  in.,  w.  49^  in. 

Purchased  from  the  Octavia  Bates  Fund  at  the 
sale  of  the  collection  of  the  late  Hugo  Reisinger, 
1916, 

RONNER,  HENRIETTA.  Dutch. 

124.  Kittens. 

Canvas:  h.  7  in.,  w.  8  in. 

Purchased,  1903, 

SCHREYER,  ADOLPH.    1828-1899.  German. 

125.  The  Old  Hungarian  Mail. 
Canvas:  h.  19^  in.,  w.  33  in. 

D,  M,  Ferry  Collection,  presented  hy  Mr.  D.  M. 
Ferry,  Jr,,  1920, 

TROYON,  CONSTANT.    1810-1865.  French. 

126.  The  Return  of  the  Flock. 

Canvas:  h.  29  in.,  w.  37  in.  Purchased  from 
JuHus  Oehme  of  New  York. 

Presented  by  Mr.  Edward  C.  Walker,  1910. 

127.  Cattle  at  the  Trough. 

Canvas:  h.  \6}4  in.,  w.  22^  in. 

Presented  hy  Mr.  Charles  Willis  Ward,  1912. 

103 


VAN  MARCKE,  EMILE.    1827-1890.  French. 

128.  The  Rainbow. 

Canvas:  h.  20}4  in.,  w.  28  in. 

D.  M.  Ferry  Collection,  presented  by  Mrs.  Queene 
Ferry  Coonley,  1920, 

WEX,  WILHELM.  German. 

129.  KONIGSEE. 

Canvas :  h.  47  in.,  w.  62^  in. 

Presented  in  memory  of  Emil  S.  Heineman  by  his 
family,  1915. 

YOSHIDA,  HIROSHI.  Japanese. 

130.  Memories  of  Japan. 

Water  Color:  h.  28  in.,  w.  36  in. 

Purchased  by  popular  subscription  and  presented 
to  the  Museum,  1899. 


104 


No.  118.    ANTONIO  MANCINI 
Professor  "Af "  zvitli  Halo 


AMERICAN  PAINTING 

BAKER,  ELLEN  KENDALL, 
(Mrs.  Harry  Thompson).  1839-1913. 

131.  The  Young  Artist. 

Canvas :  h.  28  in.,  w.  23  in. 

Presented  by  friends  of  the  Museum,  1888, 

BARLOW,  MYRON  G.    1873-  . 

132.  A  Cup  of  Tea. 

Canvas :  h.  39^  in.,  w.  39^  in. 

Purchased  from  the  Special  Membership  and  Do- 
nations Fund  contributed  by  Mr.  Philip  Gray,  Mr, 
David  Gray,  Mr,  Paul  R,  Gray,  and  their  sister, 
Mrs.  William  R.  Kales,  1918, 

BEAL,  GIFFORD  R.   N.  A. 
1879-  . 

133.  Spring. 

Water  Color :  h.  \4c}4  in.,  w.  20}4  in. 

Purchased  from  the  Farwell  Fund  and  the  income 

of  the  Yawkey  Fund,  1919, 

134.  Arabesque. 

Water  Color:  h.  14 in.,  w.  20>^  in. 

Purchased  from  the  Farwell  Fund  and  the  income 

of  the  Yawkey  Fund,  1919, 


107 


135.  Windy  Day,  Hudson  River. 

Water  Color:  h.  U}4  in.,  w.  20}4  in. 

Purchased  from  the  Farwell  Fund  and  the  income 

of  the  Yawkey  Fund,  1919. 

136.  Summer  Landscape. 

Water  Color:  h.  14>^  in.,  w.  20>^  in. 

Purchased  from  the  Farwell  Fund  and  the  income 

of  the  Yawkey  Fund,  1919, 

137.  Central  Park. 

Water  Color:  h.  U}4  in.,  w.  lOyi  in. 

Purchased  from  the  Farwell  Fund  and  the  income 

of  the  Yawkey  Fund,  1919. 

138.  New  York  Freight  Yards. 

Water  Color:  h.  U}^  in.,  w.  20^  in. 

Purchased  from  the  Farwell  Fund  and  the  income 
of  the  Yawkey  Fund,  1919. 

BECKWITH,  JAMES  CARROLL.    N.  A. 
1852-1917. 

139.  Self  Portrait. 

Mahogany  Panel :  h.  24  in.,  w.  19^  in. 

Presented  by  the  artist,  1917. 


108 


No.  123.    LEO  PUTZ 

Hochsommer 


BELLOWS,  GEORGE  WESLEY.    N.  A. 
1882-  . 

140.  ADayin  June. 

Canvas:  h.  3%  feet,  w.  4  feet.  Awarded  the 
Temple  Gold  Medal,  Pennsylvania  Academy  of 
Fine  Arts,  1917. 

Purchased  from  the  income  of  the  Lizzie  Merrill 
Palmer  Fund,  1917. 

BENSON,  FRANK  WESTON.    N.  A.    1862-  . 

141.  Portrait  of  My  Daughter  Elizabeth. 
Canvas:  h.  44  in.,  w.  37  in. 

Purchased  from  the  Special  Membership  and  Dona- 
tions Fund  contributed  by  Mr.  Philip  Gray,  Mr. 
David  Gray,  Mr.  Paul  R.  Gray,  and  their  sister, 
Mrs.  William  R.  Kales,  1916. 


BISPHAM,  HENRY  COLLINS.  1841-1882. 


143.  Cattle. 

Canvas:  h.  13^  in.,  w.  22^  in. 

Bequest  of  Mrs.  Henry  C.  Bispham,  1916. 


BOND,  CHARLES  A. 


144.  Portrait  of  the  Artist. 
Canvas :  h.  17  in.,  w.  14  in. 


Presented  by  Mr.  H.  M.  Utley,  1905. 


Ill 


BROWN,  JOHN  GEORGE.    N.  A.  1831-1903. 

145.  Jack  in  the  Box. 
Canvas:  h.  25  in.,  w.  20  in. 

Purchased^  1888, 

BUNKER,  DENNIS  MILLER.  1861-1890. 

146.  Portrait  Study — ^Head  of  a  Woman. 
Canvas:  h.  22  in.,  w.  18  in. 

Presented  by  Mrs.  John  L.  Gardner  of  Boston,  1917, 

CASSATT,  MARY.    1855-  . 

147.  Femmes  et  Enfant. 

Pastel:  h.  32  in.,  w.  26  in.  Purchased  from 
Durand-Ruel  and  Sons. 

Presented  by  Mr,  Edward  C,  Walker,  1908, 

CHASE,  WILLIAM  MERRITT.    N.  A. 
1849-1916. 

148.  Self  Portrait. 

Canvas:  h.  24  in.,  w.  20  in. 

Presented  by  the  artist,  1916, 

149.  Still  Life:  The  Yield  of  the  Waters. 
Canvas :  h.  65  in.,  w.  48  in. 

Purchased  from  the  American  Art  Association,  1916, 

CHURCH,  FREDERICK  EDWIN.    N.  A. 
1826-1900. 

150.  Syria  by  the  Sea. 
Canvas:  h.  56  in.,  w.  85  in. 

Presented  by  Mrs.  James  F.  Joy,  1910, 


112 


No.  141.  FRANK  W.  BENSON 
Portrait  of  My  Daughter  Elizabeth 


COHEN,  FREDERICK  E.   About  1810-1860. 

151.  Self  Portrait. 

Canvas:  h.  28  in.,  w.  24  in. 

Presented  by  Mrs.  Robert  Hopktn,  1910, 

COLE,  J.  FOXCROFT.  1837-1892. 

152.  Salt  Marshes. 
Canvas :  h.  20  in.,  w.  28  in. 

Presented  by  Mrs.  John  L.  Gardner  of  Boston,  1907. 

COLEMAN,  CHARLES  CARYL.    A.  N.  A. 
1840  . 

153.  Vesuvius  from  Pompeii. 

Pastel :  h.  17  in.,  w.  24  in. 

Presented  by  the  artist,  1907, 

154.  The  Garden  of  the  Villa  Castello,  Capri. 

Canvas:  h.  37  in.,  w.  24  in. 

Presented  by  friends  of  the  artist,  1911, 

CONELY,  WILLIAM  B.  1832-1913. 

155.  Portrait  of  Mr.  Richard  Storrs  Willis. 

Canvas :  h.  30  in.,  w.  25  in. 

Presented  by  the  artist,  1906, 

115 


COUSE,  EANGER  IRVING.    N.  A.    1866-  . 

156.  San  Juan  Pottery. 

Canvas:  h.  36  in.,  w.  46  in.  Isador  Memorial 
Medal,  National  Academy  of  Design,  1912. 

Presented  by  Mr,  Charles  Willis  Ward,  1912. 

157.  Portrait  of  Chief  Shoppenegons. 
Canvas:  h.  78  in.,  w.  36  in. 

Presented  by  Mr.  Charles  Willis  Ward,  1911. 

DABO,  LEON.    1868-  . 

158.  The  Seashore. 
Canvas:  h.  30  in.,  w.  34  in. 

Presented  by  the  artist,  1906. 

DABO,  THEODORE  SCOTT.    1870-  . 

159.  The  River  Seine. 
Canvas :  h.  25  in.,  w.  30  in. 

Presented  by  the  artist,  1906. 

DEARTH,  HENRY  GOLDEN.    N.  A.  1864-1918. 

160.  In  the  Gloaming. 
Canvas :  h.  20  in.,  w.  28  in. 

Presented  by  Mr.  Edward  C.  Walker,  1909. 

DENNIS,  J.  M. 

161.  Portrait  of  Hannah  Reynolds,  one  of  the  anti- 
slavery  Quaker  women  who  was  prominently  con- 
nected with  the  underground  railroad  in  freeing 
the  slaves  of  the  South. 

Presented  by  Mrs.  S.  H.  Kiskadden,  1910. 
116 


.  147.    MARY  CASSATT 

Fe mines  et  Enfant 


DEWING,  THOMAS  WILMER.    N.  A. 
1851-  . 

162.  The  Recitation. 

Canvas:  h.  30  in.,  w.  55  in.  Purchased  from  N. 
E.  Montross. 

Purchased  by  popular  subscription^  1908, 

163.  The  Musician. 

Pastel :\iA0}4  in.,  w.  6^  in. 

Purchased  at  the  sale  of  the  collection  of  Hugo 
Reisinger,  1916, 

EATON,  CHARLES  HARRY.  1850-1901. 

164.  The  Lily  Pond. 
Canvas :  h.  40  in.,  w.  71  in. 

Purchased  by  popular  subscription,  1889, 

FISHER,  WILLIAM  MARK.    R.  A.    1841-  . 

165.  Land  and  Sea. 
Canvas:  h.  20  in.,  w.  28  in. 

Presented  by  Mrs.  John  L,  Gardner  of  Boston, 
1907, 


FITZGERALD,  HARRINGTON.    1847-  . 

166.  Smugglers'  Cove. 

Canvas:  h.  16  in.,  w.  26  in. 

Presented  by  the  artist,  1913. 

119 


FRIESKE,  FREDERICK  CARL.  N.  A. 
1874-  . 


167.  The  Blue  Gown. 


Canvas :  h.  39  in.,  w.  60  in. 

Purchased  from  the  Special  Membership  and 
Donations  Fund  contributed  by  Mr.  Philip  Gray, 
Mr.  David  Gray,  Mr.  Paul  R.  Gray,  and  their 
sister,  Mrs.  William  R.  Kales,  1919. 


GALLISON,  HENRY  H.  1850-1912. 
168.  A  New  England  Hillside. 

Canvas:  h.  34  in.,  w.  44  in.  Bronze  Medal,  St. 
Louis  World's  Fair,  1904. 

Presented  by  Mrs.  Marie  Gallison,  1912. 


GAMBLE,  ROY.    1887-  . 

169.  Freckles. 

Canvas:  h.  36  in.,  w.  30  in.  Scarab  Club  Gold 
Medal,  1919. 

Purchased  from  City  Appropriation,  1919. 


GARBER,  DANIEL.    N.  A.    1880-  . 

170.  ViNECLAD  Trees. 

Canvas :  h.  4  feet  3^  in.,  w.  4  feet  8  in. 

Purchased  from  the  income  of  the  Lizzie  Merrill 

Palmer  Fund,  1918. 


120 


No.  148.    WILLIAM  M.  CHASE 
Self  Portrait 


GAY,  W.  ALLEN.  1821-1887. 

171,  172  and  173.    Sketches  in  Japan. 

Wood  Panels :  h.  1 1  in.,  w.  17  in. 

Presented  by  Mrs.  John  L.  Gardner  of  Boston,  1907, 

GIES,  JOSEPH  W. 

174.  Lady  in  Pink. 

Pastel:  h.  29  in.,  w.  22  in. 

Purchased  from  the  artists''  fund,  1899. 

175.  Portrait  of  Robert  Hopkin,  a  Marine 
Painter  of  Detroit. 

Canvas:  h.  30  in.,  w.  22  in. 

Presented  by  Mr,  William  C,  Weber,  1907. 

GROVER,  OLIVER  DENNETT.    A.  N.  A. 
1860-  . 

176.  Venetian  Street  Scene. 
Canvas:  h.  3  in.,  w.  9  in. 

Purchased,  1904. 

GRUPPE,  CHARLES  PAUL.    1860-  . 

177.  A  Dutch  Canal. 
Canvas:  h.  11  in.,  w.  12  in. 

Presented  by  Mr,  and  Mrs.  John  E,  King. 


123 


HARRISON,  BIRGE.    N.  A.  1854- 
178.  Fifth  Avenue  at  Twilight. 
Canvas:  h.  30  in.,  w.  23  in. 


Purchased  from  City  Appropriation^  1910. 


HARTMAN,  SIDNEY  K.    1863-  . 

179.  A  Bit  of  Old  Paris. 

Water  Color:  h.  14  in.,  w.  10  in. 

Presented  by  Mr.  A,  H.  Griffith, 

HASSAM,  CHILDE.    N.  A.    1859-  . 


180.  Place  Centrale  and  Fort  Cabanas,  Havana. 
Canvas:  h.  21^  in.,  w.  26%  in. 

Purchased  from  City  Appropriation,  19 IL 

181.  Surf  and  Rocks. 
Canvas:  h.  20  in.,  w.  30  in. 

Purchased  from  the  income  of  the  Lizzie  Merrill 
Palmer  Fund,  1919. 


HAWEIS,  STEPHEN. 

182.  Barracuda  Leap. 

Water  Color:  h.  13>^  in.,  w.  14%^  in. 

Purchased  from  City  Appropriation,  1920. 

124 


No.  170.    DANIEL  GARBER 
Fineclad  Trees 


183.  Fijian  Dance,  No.  1. 

Water  Color:  h.  16]/2  in.,  w.  29 yi  in. 

Purchased  from  City  Appropriation,  1920. 

184.  Fijian  Dance,  No.  2. 

Water  Color:  h.  14>^  in.,  w.  25^  in. 

Purchased  from  City  Appropriation,  1920, 

185.  The  Durgan. 

Water  Color:  h.  14>^  in.,  w.  2\}i  in. 

Purchased  from  City  Appropriation,  1920. 

186.  The  Glassy-eyed  Snapper. 
Water  Color:  h.  12  in.,  w.  17  in. 

Purchased  from  City  Appropriation,  1920. 

187.  Bacchanal. 
Water  Color. 

Purchased  from  City  Appropriation,  1920. 

HAWTHORNE,  CHARLES  WEBSTER.    N.  A. 
1872-  . 

188.  Refining  Oil. 

Canvas :  h.  40  in.,  w.  40  in. 

Presented  by  Mr.  Elliott  T.  Slocum,  1915. 

HENRI,  ROBERT.    N.  A.    1865-  . 

189.  The  Young  Girl. 
Canvas:  h.  41  in.,  w.  33  in. 

Purchased  from  City  Appropriation,  1919. 

127 


190.  The  Beach  Hat. 

Canvas:  h.  24  in.,  w.  20  in. 

Purchased  from  City  Appropriation^  1919. 


191.  Boy  with  a  Plaid  Scarf. 
Canvas:  h.  24  in.,  w.  20  in. 

Purchased  from  City  Appropriation,  1919, 

HILL,  THOMAS.  1829-1908. 

192.  The  Grand  Canyon  of  the  Yellowstone. 

Canvas:  h.  66  in.,  w.  96  in.  Formerly  in  the  col- 
lection of  Mr.  David  Hewes.  Gold  Medal,  Chi- 
cago World's  Fair,  1892. 

Presented  by  Mrs.  George  0,  Robinson,  1917 , 

HOPKIN,  ROBERT.  1832-1908. 

193.  Windy  Day  on  the  Channel. 
Canvas:  h.  40  in.,  w.  52  in. 

Bequest  of  Miss  Margaret  C.  Horn,  1910, 

194.  Setting  the  Range  Lights. 
Canvas:  h.  39  in.,  w.  32  in. 

Presented  by  Mr,  William  C,  Weber,  1903. 

195.  In  the  White  Mountains. 
Canvas:  h.  27  in.,  w.  34  in. 

Presented  by  Mrs.  Robert  Hopkin,  1910. 

128 


No.  190.    ROBERT  HENRI 
The  Beach  Hat 


196.  Graveyard  by  the  Sea. 
Canvas:  h.  45  in.,  w.  54  in. 

Presented  by  Mr.  Charles  Willis  Ward,  1909. 

HUNT,  WILLIAM  MORRIS.  1824-1879. 

197.  The  Ball  Players. 
Canvas:  h.  16  in.,  w.  24  in. 

Presented  by  Mrs.  John  L.  Gardner  of  Boston,  1907, 

ISHAM,  SAMUEL.    N.  A.  1855-1914. 

198.  Landscape. 

Canvas:  h.  23^  in.,  w.  28^  in. 

Bequest  of  the  artist,  1914. 

IVES,  LEWIS  T.  1833-1894. 

199.  Portrait  of  Mr.  William  H.  Brearly. 
Canvas:  h.  28  in.,  w.  23  in. 

Presented  by  Mrs.  W.  H.  Brearly,  1909. 

200.  Giovanni. 

Canvas:  h.  21  in.,  w.  16  in. 

Presented  by  Mrs.  Emma  Ives,  1900. 

KENDALL,  WILLIAM  SERGEANT.    N.  A. 
1869-  . 

201.  Crosslights. 

Canvas:  h.  60  in.,  w.  30  in. 

Presented  by  Mr.  David  Gray,  1915. 


131 


KOOPMAN,  AUGUSTUS.  1869-1914. 

202.  A  Katwyk  Courtyard. 
Canvas:  h.  19  in.,  w.  24  in. 

Presented  by  Mr.  A,  H,  Griffith,  1900. 

KROLL,  LEON.    1884-  . 

203.  In  the  Country. 

Canvas:  h.  3  feet  10  in.,  w.  4  feet  4  in. 

Purchased  from  the  Special  Membership  and  Dona- 
tions Fund  contributed  by  Mr.  J.  J.  Crowley,  1919. 

KRYZANOWSKY,  ROMAN.    1885-  . 

204.  Kismet. 

Canvas:  h.  48  in.,  w.  36  in. 

Presented  by  the  City  Art  and  Design  Committee  of 
the  Twentieth  Century  Club,  1919. 

LEVER,  HAYLEY.    1876-  . 

205.  The  Wharf,  Gloucester. 
Water  Color:  h.  18  in.,  w.  20  in. 

Purchased  from  the  income  of  the  Elliott  T.  Slocum 
Fund,  1919. 

206.  Boats,  Gloucester. 

Water  Color:  h.  17^  in.,  w.  21^  in. 

Presented  by  the  artist,  1919. 

132 


Copyrighted  by  The  Detroit  Publishing  Co. 


No.  213.    GARI  MELCHERS 

The  Fencing  Master 


LIE,  JONAS.    A.  N.  A.    1880-  . 

207.  CuLEBRA  Cut. 

Canvas:  h.  50  in.,  w.  60  in. 

Purchased  from  City  Appropriation^  1914. 

MACKNIGHT,  DODGE.    1860  . 

208.  The  Almond  Tree. 
Water  Color:  16  in.  square. 

Presented  by  Mrs.  John  L.  Gardner  of  Boston^  1907, 

MELCHERS,  J.  GARI.    N.  A.    1860-  . 

209.  The  Vespers. 

Canvas :  h.  38  in.,  w.  28  in. 

Presented  by  the  Witenagemote  Club,  1889, 

210.  The  Wedding. 
Canvas :  h.  45  in.,  w.  34  in. 

Presented  by  Mr.  Edward  C.  Walker,  1906, 

211.  Portrait  of  Mrs.  Melchers. 

Canvas:  h.  89  in.,  w.  52  in.  Purchased  from  the 
artist. 

Presented  by  Mr.  Edward  C.  Walker,  1909, 

212.  Ik  Marvel  (Donald  G.  Mitchell). 
Canvas:  h.  20  in.,  w.  18  in. 

Presented  by  Mr.  Edward  C,  Walker,  1909, 

135 


213.  The  Fencing  Master. 

Canvas:  h.  81)4  in.,  w.  39}4  in.  Purchased  from 
the  artist. 

Presented  by  Mr,  Edward  C.  Walker^  1913. 

214.  A  Child  with  an  Orange. 

Canvas:  h.  38]/2  in.,  w.  26)4  ii^-  Purchased  from 
the  artist. 

Presented  by  the  Detroit  Museum  of  Art  Founders 
Society,  1920. 


METCALF,  WILLARD  LEROY.    18S8-  . 

215.  Unfolding  Buds. 

Canvas :  h.  26  in.,  w.  29  in. 

Purchased  by  popular  subscription  and  presented 
to  the  Museum,  1910. 


216.  The  White  Veil. 

Canvas :  h.  36  in.,  w.  36  in. 

Presented  by  Mr.  Charles  Willis  Ward,  1915. 


MILLER,  RICHARD  E.    N.  A.    1875-  . 

217.  Summer  Reverie. 

Canvas:  h.  36  in.,  w.  28^  in. 

Purchased  from  the  William  C.  Yawkey  Fund  at 
the  sale  of  the  collection  of  the  late  Hugo  Reisinger, 
1916. 


136 


No.  219.    J.  FRANCIS  A4URPHY 
Autumn 


MILLET,  FRANCIS  DAVIS.    N.  A. 
1846-1912. 

218.  Reading  the  Story  of  Oenone. 
Canvas :  h.  30  in.,  w.  48  in. 

Purchased  from  the  proceeds  of  the  Detroit  Art 
Loan  and  by  popular  subscription^  and  presented 
to  the  Museum,  1883, 

MURPHY,  JOHN  FRANCIS.    N.  A.    1853-  . 

219.  Autumn. 

Canvas :  h.  24^  in.,  w.  36^  in. 

Purchased  by  popular  subscription  and  presented  to 
the  Museum,  1912. 

MYLNE,  WILLIAM. 

220.  Glen  Devon,  Scotland. 
Water  Color:  h.  10  in.,  w.  14  in. 

Presented  by  Mr.  William  C.  Weber. 

NEWELL,  GEORGE  GLENN.    A.  N.  A. 
1870-  . 

221.  Twilight. 

Canvas :  h.  16  in.,  w.  20  in. 

Presented  by  Mr.  A.  H.  Griffith,  1906. 

NOURSE,  ELIZABETH.    1860-  . 

222.  Happy  Days. 
Canvas:  40  in.  square. 

Purchased  from  the  Whitney-Hof  Museum  Pur- 
chase Fund  and  presented  by  the  International 
Art  Union  of  Paris,  1909. 


139 


OLINSKY,  IVAN  GREGOREWITCH.    N.  A. 
1878-  . 

223.  The  Old  Fashioned  Gown. 
Canvas :  h.  5  feet,  w.  3  feet. 

Purchased  from  the  William  C.  Yawkey  Fund^  1916, 


PAULUS,  FRANCIS  PETRUS.  1862- 
224.  Low  Tide. 

Panel:  h.  8  in.,  w.  12  in. 


Presented  by  Miss  Clara  A.  Dyar,  1903. 

225.  Fish  Market  of  Bruges. 
Canvas:  h.  34  in.,  w.  40  in. 

Presented  by  Mrs.  William  R.  Kales  and  Mr. 
David  Gray,  1919. 

PEALE,    REMBRANDT.    N.  A.  1778-1860. 
Early  American  School. 

226.  The  Court  of  Death. 

Canvas :  h.  1 1  feet  6  in.,  w.  23  feet  5  in. 

Presented  by  Mr.  George  H.  Scripps,  who  purchased 
it  from  Mr.  S.  A.  Coale  of  St.  Louis,  a  well- 
known  connoisseur,  1885. 

PICKNELL,  G.  W. 

227.  Stackyards  in  Winter. 
Canvas:  h.  29  in.,  w.  39^  in. 

Presented  by  Mr.  E.  Murray  MacKay,  1913. 


140 


No.  251.    DWIGHT  W.  TRYON 
Before  Sunrise,  June 


f 


PITTS,  LENDALL. 

228.  The  Source  of  the  Romanche. 
Canvas:  h.  22  in.,  w.  30  in. 

Purchased  by  friends  of  the  artist  and  presented  to 
the  Museum,  1909, 

REDFIELD,  EDWARD  WILLIS.    1868-  . 

229.  Grey  Days. 

Canvas:  h.  40  in.,  w.  52  in. 

Purchased  from  the  income  of  the  William  C,  Yawkey 
■Fund,  1909. 

230.  Meadow  Brook. 
Canvas:  h.  26  in.,  w.  32  in. 

Presented  by  Mr.  Charles  Willis  Ward,  1915. 

REHN,  FRANK  KNOX  MORTON.   N.  A. 
1848-1914. 

231.  The  Missing  Vessel. 
Canvas:  h.  30  in.,  w.  51  in. 

Purchased  from  the  proceeds  of  the  Merrill  Hall 
Exhibition,  1886. 

REID,  ROBERT.    N.  A.    1862-  . 

232.  The  Miniature. 
Canvas:  h.  30  in.,  w.  26  in. 

Purchased  from  City  Appropriation,  1913. 

143 


RICHARDS,  SAMUEL.  1853-1893. 

233.  Evangeline  Discovering  Her  Affianced  in 
THE  Hospital. 

Canvas:  69  in.,  w.  102  in. 

Presented  by  Mr,  Bela  Hubbard,  1892. 


ROLSHOVEN,  JULIUS.    1858-  . 

234.  The  Refectory  of  San  Damiano,  Assisi. 
Canvas:  h.  40  in.,  w.  50  in. 

Purchased  by  popular  subscription,  1907. 

ROSS,  ISABEL. 

235.  Girl  at  Prayer. 
Canvas:  h.  27  in.,  w.  18  in. 

Bequest  of  Miss  Mary  M.  Stevens,  1910, 

SEYFFERT,  LEOPOLD  G.    A.  N.  A. 

236.  Self  Portrait. 

Canvas:  h.  50  in.,  w.  40  in. 

Purchased  from  the  General  Membership  and  Dona- 
tions Fund,  1918. 


SHIRLAW,  WALTER.    N.  A.  1838-1909. 
237.  Good  Morning. 

Canvas:  h.  48  in.,  w.  29  in. 

Presented  by  Mrs.  Walter  Shirlaw,  1913, 


144 


256.     JULIAN  ALDEN  WEIR 
A  Follower  of  Grolier 


238.  Bacchanal. 

Canvas:  h.  29^  in.,  w.  40>^  in. 

Presented  by  Mrs,  Walter  Shirlaw,  1913. 

239.  Wheat  Field,  Vermont. 
Canvas:  h.  \S}4  in.,  w.  30  in. 

Presented  by  Mrs.  Walter  Shirlazu,  1913. 

240.  A  Holland  Canal. 

Water  Color:  h.  10  in.,  w.  14  in. 

Presented  by  Mrs.  Walter  Shirlaw,  1913. 

241.  At  Cape  Ann. 

Water  Color:  h.  10  in.,  w.  IS  in. 

Presented  by  Mrs.  Walter  Shirlaw,  1913. 

SMITH,  F.  HOPKINSON.  1838-1915. 

242.  Venice. 

Water  Color:  h.  13;^^  in.,  w.  23^  in. 

Presented  by  Mrs.  Gustavus  D.  Pope^  1920. 

SONNTAG,  WILLIAM  LOUIS.    N.  A. 
1822-1900. 

243.  October  Morning  in  New  Hampshire. 
Canvas:  h.  16  in.,  w.  26  in. 

Bequest  of  Miss  Mary  M.  Stevens,  1910. 

147 


SPENCER,  ROBERT.     N.  A.    1879-  . 

244.  On  the  Canal,  New  Hope. 
Canvas:  h.  30  in.,  w.  36  in. 

Presented  by  Miss  Julia  Peck^  1916. 

STANLEY,  JOHN  M.  1816-1872. 

245.  The  Indian  Telegraph. 
Canvas:  h.  20  in.,  w.  15^  in. 

Presented  by  Mrs.  W ,  T.  Barbour. 

246.  Landscape. 

Canvas:  h.  18^  in.,  w.  30  in. 

Presented  by  Mr.  D.  M.  Ferry,  Jr.,  1915. 

247.  Wild  Horses. 

Panel:  h.  7>^  in.,  w.  8>^  in. 

Presented  by  Mr.  D.  M.  Ferry,  Jr.,  1915. 

STERNE,  MAURICE.    1877-  . 

248.  Entrance  of  the  Ballet. 
Canvas:  h.  26  in.,  w.  32^  in. 

Presented  by  Mr.  and  Mrs.  Ralph  H.  Booth,  1920, 

SWIFT,  IVAN.    1873-  . 

249.  A  Michigan  Home. 
Canvas:  h.  30  in.,  w.  26  in. 

Purchased  from  City  Appropriation,  1919. 

148 


No.  290.    MARIO  KORBEL 

Andante 


250.  The  Portage. 

Canvas:  h.  10  in.,  w.  14  in. 

Presented  by  the  Bohemian  Club. 


TRYON,  DWIGHT  WILLIAM.    N.  A.    1849-  . 

251.  Before  Sunrise,  June. 

Canvas:  h.  20  in.,  w.  30  in. 

Purchased  by  popular  subscription,  1906, 


TWACHTMAN,  JOHN  HENRY.  1852-1902. 

252.  The  Pool. 

Canvas:  h.  26  in.,  w.  31  in. 

Presented  by  Mr.  Charles  L,  Freer,  1908. 

WALTENSPERGER,  CHARLES. 

253.  Man  with  the  Staff. 

Copy  of  the  original  in  the  Louvre,  Paris,  by 
Rembrandt. 

Canvas:  h.  31  in.,  w.  26  in. 

Presented  by  the  artist,  1900. 

254.  FfiTE  Day  in  Paris. 

Water  Color:  h.  18  in.,  w.  14  in. 

Presented  by  the  artist. 

151 


255.  A  Humble  Meal. 

Wood  Panel:  h.  12  in.,  w.  9  in. 

Presented  by  the  artist,  1912, 

WEIR,  JULIAN  ALDEN.    N.  A.  1852-1919. 

256.  A  Follower  of  Grolier. 
Canvas:  h.  39  in.,  w.  31  in. 

Purchased  from  the  Kate  Minor  Fund,  1916. 

WEST,  BENJAMIN.  1738-1820. 
Early  American  School. 

257.  Queen  Philippa  Interceding  for  the  Lives  of 
THE  Burghers  of  Calais. 

At  the  right,  Queen  Philippa,  wife  of  Edward  III 
of  England,  attended  by  two  maidens,  pleading 
with  her  husband,  who  appears  in  full  armor,  with 
battle-axe  in  his  left  hand;  by  him  stands  a  boy 
holding  the  gauntlet  which  he  has  removed  from 
his  right  hand,  and  behind  him  the  Black  Prince, 
his  son,  between  two  other  armed  Knights;  at  the 
left  stand  six  burghers  with  ropes  around  their 
necks  and  their  hands  pinioned  behind  them, 
guarded  by  armed  soldiers.  Calais  had  sur- 
rendered to  the  English  after  a  long  siege,  and 
the  keys  of  the  city  had  been  brought  to  the 
victorious  Edward  III  by  its  six  most  noble 
burghers.    The  surrender  occurred  in  1347. 

Canvas:  h.  39>^  in.,  w.  52^  in.  Signed  and  dated 
1788. 

Presented  by  Mr.  James  E.  Scripps. 


152 


No.  291.    PAUL  MANSHIP 
Centaur  and  Dryad 


258.  Belisarius  and  the  Boy. 
Canvas:  h.  26}^  in.,  w.  18^  in. 

Presented  hy  A.  Leonard  Nicholson,  Esq.,  of  London, 
1913. 

WHISTLER,  JAMES  ABBOTT  McNEILL. 
1834-1903. 

259.  Portrait  of  Robert  Barr. 
Canvas:  h.  15j^  in.,  w.  12^  in. 

Presented  by  the  Witenagemote  Club,  1920. 

WICKENDEN,  ROBERT  J.    1861-  . 

260.  Portrait  of  Mr.  James  E.  Scripps. 
Canvas:  h.  58  in.,  w.  36  in. 

Presented  by  the  Executors  of  the  James  E.  Scripps 
Estate. 

WOODBURY,  CHARLES  HERBERT.    N.  A. 
1864-  . 

261.  Mount  Pelee. 

Water  Color:  h.  22 in.,  w.  30  in. 

Purchased  from  City  Appropriation,  1920. 

262.  Young  Porpoise. 

Water  Color:  h.  21  in.,  w.  28  in. 

Purchased  from  City  Appropriation,  1920. 

WYANT,  ALEXANDER  HELWIG.    N.  A. 
1836-1892. 

263.  View  of  Whiteface  Mountain. 
Canvas:  h.  17:  in.,  w.  14^  in. 

Bequest  of  Mrs.  Almeda  H.  Pickering,  1917. 


155 


SCULPTURE 


BARYE,  ANTOINE  LOUIS.    1795-1875.  French. 

264.  Dachshund. 

Bronze:  h.  6  in.    Base,  1.  9^  in.,  w.  4  in. 

Purchased  from  City  Appropriation,  1920. 

265.  Dachshund. 

Bronze :  h.  6  in.    Base,  I.  9}4  in.,  w.  4  in. 

Purchased  from  City  Appropriation,  1920. 

266.  Camel. 

Bronze :  h.  7  in.    Base,  1.  7j^  in.,  w.  4  in. 

Purchased  from  City  Appropriation,  1920. 

BEACH,  CHESTER.    A.  N.  A.  1881-  . 

267.  Bacchus  and  Faun. 

Bronze:  h.  10}4  in.    Base,  diameter  3  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

BORGLUM,  JOHN  GUTZON.    1867-  . 

268.  Nero. 

Bronze:  h.  11  in.    Base,  diameter  6  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

269.  RusKiN. 

Bronze:  h.  15  in.    Base,  1.  11  in.,  w.  S)4  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

156 


No.  292.    PAUL  MANSHIP 
Dancer  and  Gazelles 


270.  The  Wonder  of  Motherhood. 

Bronze :  h.  26  in.    Base,  1.  13^  in.,  w.  9^  in. 

Presentedby  Mr,  George  G.  Booth,  1919. 

271.  The  Wooing  of  the  Centaur. 
Bronze :  h.  20  in.    Base,  diameter  10  in. 

Presentedby  Mr.  George  G.  Booth,  1919. 


BORGLUM,  SOLON  HANNIBAL.    A.  N.  A. 
1868-  . 

272.  Blizzard. 

Bronze:  h.  5^  in.    Base,  1.       in.,  w.  5^  in. 

Presented  by  Mr.  Ralph  H.  Booth,  1916. 

273.  Bucking  Broncho. 

Bronze :  h.  \9%  in.    Base,  1.  8  in.,  w.  6^4  in. 

Presented  by  Mr.  Ralph  H.  Booth,  1916. 

274.  Horse  Tamed. 

Bronze:  h.  5^  in.    Base,  1.  llf^  in.,  w.  3^  in. 

Presented  by  Mr.  Ralph  H.  Booth,  1916. 

nS.  Intelligent  Broncho. 

Bronze :  h.  20^  in.    Base,  1.  12  in.,  w.  7%  in. 

Presented  by  Mr.  Ralph  H.  Booth,  1916. 

276.  Lassoing  Wild  Horses. 

Bronze:  h.  30  in.    Base,  1.  25  in.,  w.  IS  in. 

Presented  by  Mr.  Ralph  H.  Booth,  1916. 

159 


277.  Snowdrift. 

Bronze :  h.  10^  in.    Base,  1.  9^  in.,  w.  4^  in. 

Presented  by  Mr.  Ralph  H.  Booth,  1916, 


BOUCHER,  JEAN.  French. 

278.  Fra  Angelico. 

Bronze:  h.  26  in.    Base,  1.  7^  in.,  w.  6  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

CHAMBERLIN,  F.  TOLLES.    1873-  . 

279.  The  Cup  Bearer. 

Bronze :  h.  24^  in.    Base,  1.  6^  in.,  w.  7  in. 

Presented  by  Mr.  George  G.  Booth,  1919, 

EBERLE,  ABASTENIA  ST.  LEGER.    1878  . 

280.  Ragtime. 

Bronze:  h.  11^  in.    Base,  diameter  5  in. 

Presented  by  Mr.  George  G.  Booth,  1919, 

ERASER,  JAMES  EARLE.    N.A.    1876-  . 

281.  End  of  the  Trail. 

Bronze:  h.  45  in.    Base,  1.  30  in.,  w.  9  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

160 


Group  Exhibit  of  American  Sculpture  and  Handicraft 


FRY,  SHERRY  EDMUNDSON.  A.  N.  A. 
1879-  . 

282.  The  Spartan  Mother. 

Bronze:  h.  24>^  in.    Base,  10  in.  square. 

Presented  hy  Mr.  George  G.  Booth,  1919, 

GIRARDET,  BERTHE.    1867-  . 

283.  *^GivE  Us  This  Day  Our  Daily  Bread.  ' ' 
Marble :  h.  70  in.    Base,  1.  60  in.,  w.  45  in. 

Presented  by  Mrs.  Grace  Whitney  Hoff,  1913. 

HOFFMAN,  MALVINA.    1887-  . 

284.  Pavlowa. 

Bronze:  h.  14  in.    Base,  1.  5  in.,  w.  3  in. 

Presented  by  Mr.  George  G.  Booths  1919. 

285.  Russian  Dancers. 

Bronze:  h.  10  in.    Base,  1.  11  in.,  w.  5>^  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

HYATT,  ANNA  VAUGHN.  A.  N.  A.    1876-  . 

286.  Colt. 

Bronze:  h.  in.     Base,  1.  8^  in.,  w.  4^  in. 

Presented  by  Mr.  George  G.  Booth,  1919, 

287.  Fighting  Goats. 

Bronze:  h.  9)4  in.    Base,  1.  17 }4  in.,  w.  6  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

163 


288.  Napoli. 

Bronze:  h.  9^  in.    Base,  1.  10}4  in.,  w.  5^2  in. 

Presented  by  Mr,  George  G,  Booth,  1919, 


KONTI,  ISADORE.    N.  A.    1862-  . 

289.  The  Genius  of  Immortality. 

Bronze:  h.  25  in.    Base,  1.  11  in.,  w.  7}i  in. 

Presented  by  Mr,  George  G,  Booth,  1919. 

KORBEL,  MARIO. 

290.  Andante. 

Bronze:  h.  29>^  in.    Base,  1.  43^  in.,  w.  8^  in. 

Loaned  by  Mr.  Ralph  H.  Booth,  1918, 


MANSHIP,  PAUL.  N.  A.  1886- 
291.  Centaur  and  Dryad. 


Bronze:  h.  39^  in.     Base,  1.  18^  in.,  w.  ll]4  in. 

Purchased  by  popular  subscription,  1914, 

292.  Dancer  and  Gazelles. 

Bronze :  h.  32  in.    Base,  I.  33  in.,  w.  10  in. 

Presented  by  Mr.  George  G.  Booth,  1919, 

293.  Little  Brother. 

Bronze:  h.  12}^  in.    Base,  1.  7)4  in.,  w.  4^  in. 

Presented  by  Mr.  George  G.  Booth,  1919, 

164 


No.  297.    CONSTANTIN  MEUNIER 

The  Hammerman 


294.  Playfulness. 

Bronze:  h.  14  in.    Base,  1.  9}4  in.,  w.  6y^  in. 

Presented  by  Mr,  George  G,  Booth,  1919. 

295.  The  Flight  of  Night. 

Bronze:  h.  13  in.    Base,  4^  in.  square. 
Presented  by  Dr.  and  Mrs.  Walter  R.  Parker,  1916. 

296.  The  Lute  Player. 

Bronze:  h.  13  in.    Base,  1.  7  in.,  w.  6  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

MEUNIER,  CONSTANTIN.  1831-1905. 

297.  The  Hammerman. 

Bronze:  h.  46  in.    Base,  1.  17  in.,  w.  19^  in. 

Purchased  by  popular  subscription,  1914. 

298.  Shrimp  Fisher  on  Horseback. 
Bronze:  h.  17  in.    Base,  1.  13^  in.,  w.  5  in. 

Presented  by  Mrs.  Maurice  Black,  1914. 

299.  The  Old  Mine  Horse. 

Bronze:  h.  14>^  in.    Base,  1.  13>^  in.,  w.  5^2  in. 

Loaned  by  Mr.  D.  M.  Ferry,  Jr. 

NADELMAN,  ELIE.    1885-  . 

300.  Reverie. 

Marble:  h.  17>^  in.     Base,  1.  11>^  in.,  w.  8>^  in. 

Purchased  from  the  income  of  the  Yawkey,  Bates 
and  Harmon  Funds,  1918. 


167 


301.  Resting  Stag. 

Bronze:  h.  17^  in.    Base,  1.  21>^'  in.,  w.  8}4  in. 

Purchased  from  City  Appropriation^  1919. 

302.  Wounded  Stag. 

Bronze:  h.  17^  in.    Base,  1.  21  in.,  w.  8^  in. 

Purchased  from  City  Appropriation,  1919. 

POLASEK,  ALBIN.    1879-  . 

303.  Aspiration. 

Bronze:  h.  16  in.    Base,  1.  13^  in.,  w.  5^  in. 

Presented  by  Mr,  George  G.  Booth,  1919. 

304.  Maternal  Love. 

Bronze:  h.  8^  in.    Base,  1.  7  in.,  w.  3  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

ROTH,  FREDERICK  GEORGE  RICHARD. 
N.  A.  1872-  . 

305.  Polar  Bear. 

Marble:  h.  19X  in.    Base,  1.  24  in.,  w.  14  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

306.  Polar  Bears. 

Bronze:  h.  24  in.    Base,  diameter  14  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

307.  Walking  Polar  Bear. 

Bronze:  h.  8  in.    Base,  1.  11  in.,  w.  4>^  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

168 


No.  300.    ELIE  NADELMAN 
Reverie 


SAINT-GAUDENS,  AUGUSTUS.    N.  A. 
1848-1907. 

308.  Amor  Caritas. 

Bronze  Bas-relief:  h.  40  in.,  w.  17  in. 

Purchased  by  popular  subscription^  1915, 

309.  Portrait  of  Homer  Schiff  Saint-Gaudens. 
Bronze  Bas-relief:  h.  19^  in.,  w.  10  in. 
Presented  by  Mrs.  Augustus  Saint-Gaudens^  1915, 


TROUBETZKOY,  PAUL.    1866-  . 

310.  Lamb— ^'How  Can  You  Eat  Me." 

Bronze:  h.  21^  in.     Base,  1.  15K  in.,  w.  9^  in. 

Presented  by  the  artist,  1916. 

311.  Lady  Constance  Richardson. 

Bronze:  h.  13^  in.    Base,  1.  7yi  in.,  w.  5^  in. 

Purchased  from  the  General  Membership  and  Dona- 
tions Fund,  1916. 

312.  Tolstoy  on  Horseback. 

Bronze:  h.  17^  in.     Base,  1.  in.,  w.  43^  in. 

Purchased  from  the  General  Membership  and  Dona- 
tions Fund,  1916. 

VONNOH,  BESSIE  POTTER.  A.  N.  A.   1872-  . 

313.  Motherhood. 

Bronze:  h.  IS  in.    Base,  1.  14^  in.,  w.  8^  in. 
Presented  by  Mr.  and  Mrs.  Ralph  H.  Booth,  1920. 

171 


WEINMAN,  ADOLPH  ALEXANDER.    N.  A. 

314.  Portrait  of  Julius  Theodore  Melchers. 

Bronze  Bas-relief  mounted  on  marble:  h.  55  in., 
w.  36  in. 


WHITNEY,  GERTRUDE  VANDERBILT. 

315.  Italian  Peasant  Head. 

Bronze:  h.  11  in.    Base,  4  in.  square. 

Presented  hy  Mr,  George  G.  Booth,  1919. 


172 


No.  306.    FREDERICK  G.  R.  ROTH 
Polar  Bears 


/ 


ARTS  AND  CRAFTS 

(CONTEMPORARY) 

CERAMICS. 

316.  Group  of  BINNS  POTTERY. 

4  Pieces,  American  Stoneware  or  Ores,  made  by 
Professor  Charles  F.  Binns,  Director  of  the  New 
York  State  School  of  Clayworking  and  Ceramics 
at  Alfred,  New  York.  Professor  Binns  began  the 
study  of  this  type  of  ware  about  1903  as  a  matter 
of  personal  interest.  Every  piece  is  made  and 
finished  throughout  by  Professor  Binns  himself,  and 
none  is  duplicated.  The  production  of  stoneware 
was  begun  in  Flanders  in  the  XVI  Century  and 
towards  the  end  of  the  XIX  Century  some  artist 
potters  in  France  took  up  the  development  of  the 
ware,  naming  it  Gres.  The  original  glazing  by 
salt  was  not  entirely  abandoned,  but  was  supple- 
mented by  colored  and  mat  glazes.  Stoneware 
clays  are  more  elemental  than  those  used  for  por- 
celain. The  raw  material  is  not  purified  and  only 
ordinary  manipulations  are  employed  in  mixing. 
Thus  stoneware  possesses  the  masculine  character- 
istics, strength  and  virility,  while  porcelain  dis- 
plays those  of  the  feminine,  delicacy  and  grace. 
Stoneware  and  porcelain  are  produced  by  the  same 
essential  processes;  the  ware  is  once-fired,  that  is, 
both  body  and  glaze  are  matured  at  one  and  the 
same  burning,  the  temperature  ranging  from  1350 
to  1400  degrees  Centigrade. 

Presented  by  Mr.  George  G.  Booth,  1919. 


175 


317.  Group  of  DURANT  POTTERY. 


7  Pieces  made  by  the  Durant  Kilns,  established  in 
1911  at  Bedford  Village,  New  York,  by  Jeanne 
Durant  Rice  and  Leon  Volkmar.  It  attempts  to 
recreate  the  beauty  of  rare  examples  of  the  potter's 
art  that  have  come  down  from  the  best  periods. 
The  Persian  blue,  aubergine  and  Chinese  yellow 
glazes,  in  which  the  Durant  Kilns  have  been 
especially  successful,  are  represented. 

Presented  by  Mr.  George  G.  Booth,  1919. 


318.  Group  of  PEWABIC  POTTERY. 

17  Pieces  developed  by  Mrs.  William  B,  Stratton 
(Miss  Mary  Chase  Perry)  and  Horace  James 
Caulkins  in  Detroit.  The  product  is  the  result  of 
a  series  of  progressive  experiments  since  1903,  the 
aim  being  to  produce  glazes  of  a  type  comparable 
to  the  best  period  of  ceramic  art. 

Loaned  by  the  Pewabic  Pottery. 

319.  PEWABIC  POTTERY.    (3  Pieces.) 

Presented  by  Mr.  Charles  L.  Freer. 


176 


No.  309.    AUGUSTUS  SAINT-GAUDENS 
Homer  Schiff  Saint-Gaudens 


No.  322.    Silver  and  Gilt  Baptismal  Font 
Designed  by  MESSRS.  CRAM  and  FERGUSON,  (supervision  of  FRANK 
CLEVELAND);  silver  work  executed  by  JAMES  T.  WOOLLEY;  enamel  work 
by  ELIZABETH  COPELAND,  and  models  for  sculptured 
portions  made  by  L  KIRCHMAYER. 


320.  Group  of  ROBINEAU  PORCELAINS. 

36  Pieces  made  by  Mrs.  Adelaide  Aisop  Robineau 
The  hard  porcelain  body  thrown  on  the  potter's 
wheel  is  of  native  materials  glazed  with  mat, 
semi-mat  or  crystalline  glazes  and  fired  at  2400 
degrees  Fahrenheit.  Color  glazes  are  applied  in 
successive  heavy  coats  at  a  high  point  of  firing,  and 
being  extremely  sensitive  to  the  condition  of  the 
kiln  atmosphere,  the  results  are  often  disappoint- 
ing, and  the  really  fine  pieces  are  rare.  A  variety 
of  crystalline  vases  of  great  beauty  and  carved  and 
modeled  vases  with  designs  incised  or  modeled 
in  the  paste,  two  phases  of  her  work  in  which 
Mrs.  Robineau  is  preeminent,  are  represented. 

Presented  by  Mr.  George  G.  Booth,  1919, 

ENAMELING 
CALDWELL,  EDWARD  F. 

321.  Plaque. 

H.  7%  in.,  w.  in. 

Presented  by  Mr.  George  G.  Booth,  1920, 

HAND  WROUGHT  SILVER. 

322.  Silver  and  Gilt  Baptismal  Font. 

Designed  by  Messrs.  Cram  and  Ferguson,  archi- 
tects of  Boston;  silver  work  executed  by  James  T. 
Woolley,  Boston;  enamel  work  by  Miss  Elizabeth 
Copeland  of  Boston;  models  for  sculptured  por- 
tions made  by  1.  Kirchmayer  of  Cambridge,  and 
the  entire  work  supervised  in  every  detail  by  F.  E. 
Cleveland,  associate  of  Cram  and  Ferguson. 

H.  12  in.    Base,  diameter  Syi  in. 

Presented  by  Mr,  George  G,  Booth,  1920, 


179 


COPELAND,  ELIZABETH. 

323.  ClBORIUM 

H.  9^  in.    Base,  diameter  5  in. 

Presented  by  Mr.  George  G.  Booth,  1919, 

324.  Box. 

L.  7  in.,  w.  5  in.,  d.  3^4  in. 

Presented  by  Mr,  George  G.  Booth,  19,19. 


DONALDSON,  DOUGLAS. 

325.  Tea-caddy. 

H.  5^  in.    Base,  diameter  2}4  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 


GERMER,  GEORGE. 

326.  Alms-basin. 
Diameter  15  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

327.  Chalice. 

H.  8}i  in.    Base,  diameter  5  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 


KNIGHT,  MARY  C. 

328.  Pierced  Silver  Plate. 
Diameter  12^  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 


180 


326.    GEORGE  GERMER 
Silver  Jims-basin 


No.  333.    I.  KIRCHMAYER 
Wood  Carving 


STONE,  ARTHUR  J. 

329.  Vase. 

H.  12  in.    Base,  diameter  l>y^  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

TIFFANY,  LOUIS  C.    N.  A.    1848-  . 

330.  Ink  Stand. 

H.  2^  in.,  diameter  3^  in. 

Presented  by  Mr.  George  G.  Booth,  1920. 

JEWELRY. 

331.  Carved  Ivory  Pendant. 

Designed  by  Hugo  Robus  and  executed  in  the 
Horace  Potter  Studios  in  Cleveland. 

Presented  by  Mr.  George  G.  Booth,  1919. 

WOOD  CARVINGS. 
KIRCHMAYER,  I. 

332.  A  Christmas  Festival  in  Heaven. 
Oak:  h.  66  in.,  w.  24  in.,  t.  4  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

333.  Model  for  a  Bronze  Gate. 
H.  35  in.,  w.  27  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

183 


334.  Music. 

Oak:  h.  30  in.    Base,  diameter  7  in. 

Prese7ited  by  Mr.  George  G.  Booth,  1919. 


335.  The  Crucifixion. 
Mahogany:  h.  57^  in.,  w.  17  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

336.  The  Madonna. 

Oak:  h.  60  in.,  w.  14  in.,  t.  7  in. 

Presented  by  Mr,  George  G.  Booth,  1919. 

Wood  carvings  in  which  the  conventions  of  archi- 
tectural Gothic  sculpture  are  given  a  modern 
vitality  in  the  lifelike  interpretation  and  individu- 
ality of  the  figures. 


WROUGHT  IRON. 

337.  Wrought  Iron  Screen. 

Designed  by  Thomas  Hastings,  N.  A.,  and  exe- 
cuted by  Edward  F.  Caldwell  and  Company. 

H.  10  ft.  7  in.,  w.  12  ft. 

Presented  by  Mr.  George  G.  Booth,  1919. 


184 


No.  337.    Wrought  Iron  Screen 
Designed  by  THOMAS  HASTINGS  and 
executed  by  EDWARD  F.  CALDWELL  AND  COMPANY 


No.  341.    SAMUEL  YELLIN 
Wrought  Iron  Grille 


/ 


KORALEWSKY,  FRANK  L. 

338.  Door  Hinges,  Locks,  Latches,  Knockers  and 
OTHER  Hardware:  19  Pieces. 

Mr.  Koralewsky  perpetuates  in  his  work  the 
intuitive  spirit  of  the  medieval  German  crafts- 
man, often  given  to  the  fantastic  translation  in 
iron  of  folklore. 

Presented  by  Mr.  George  G.  Booth,  1919, 
YELLIN,  SAMUEL. 

339.  Door  Hinges,  Locks,  Latches  and  other 
Hardware:  13  Pieces. 

Mr.  Yellin  adapts  the  conventional  designs  of  the 
ironworker  of  the  Italian  and  Spanish  Renaissance 
to  present-day  requirements,  always  observing  the 
fitness  of  design  to  the  material. 

Presented  hy  Mr.  George  G.  Booth,  1919. 

340.  Design  for  a  Grating  or  Screen. 

Designed  by  H.  Van  Buren  Magonigle  and  exe- 
cuted by  Mr.  Yellin. 

H.  37  in.,  w.  20  in. 

Presented  by  Mr.  George  G.  Booth,  1919. 

341.  Grille. 

H.  SO  in.,  vv^.  29>^  in. 

Presented  by  Mr.  George  G.  Booth,  1920. 


187 


INDEX  OF  ARTISTS 


Page 

AGOSTINI,  Giovanni  Paolo  de   15 

AGNOLO,  Andrea  d'   15 

ALBANO,  Francesco                                            .  16 

ALLEGRI,  Antonio  '.  .  16 

ALMA-TADEMA,  Laurenz   92 

AUBERT,  Ernest  Jean   92 

(BAGNACAVALLO)   19 

BAKER,  Ellen  Kendall  107 

BARBIERI,  Giovanni  Francesco   19 

BARLOW,  Myron  107 

BAR  YE,  Antoine  Louis  156 

BEACH,  Chester  156 

BEAL,  Gilford  107 

BECKWITH,  J.  Carroll  108 

BELLOWS,  George   .  .111 

BENSON,  Frank  W  Ill 

BERCKHEYDE,  Gerrit   44 

BERCKHEYDE,  Job   44 

BIGI,  Francesco   20 

BINNS  POTTERY  175 

BISPHAM,  Henry  C  Ill 

BOND,  Charles  A  Ill 

BONHEUR,  Marie  Rosa   92 

BORGLUM,  Gutzon  156 

BORGLUM,  Solon  H  159 

(BORGOGNONE)   83 

BOTH,  Jan   44 

BOUCHER,  Francois   83 

BOUCHER,  Jean  160 

BOUGUEREAU,  William   92 


188 


INDEX— Continued 


Page 

BREKELENKAM,  Quirenus   47 

BROWN,  John  G  112 

BRUEGHEL,  Jan,  the  Elder   68 

BUNKER,  Dennis  112 

BYZANTINE  SCHOOL,  XIH  Century   20 

CALDWELL,  Edward  F  179 

CANALE,  Antonio   20 

(CANALETTO)   20 

CARRACCI,  Annibale   23 

CASSATT,  Mary  112 

CHABAS,  Maurice   92 

CHAMBERLIN,  F.  Tolles  160 

CHASE,  William  M....".  112 

CHIALIVIA,  Liugi   95 

CHURCH,  Frederick  E  112 

CIMA  DA  CONEGLIANO,  Giovanni  Battista ....  23 

(CLAUDE  LORRAIN)   83 

COHEN,  Frederick  E  115 

COLE,  J.  Foxcroft  115 

COLEMAN,  Charles  C  115 

CONELY,  William  B  115 

COPELAND,  Elizabeth  179,  180 

CORNETO,  Monaldus  da   24 

(CORREGGIO)   24 

COURTOIS,  Jacques   83 

COUSE,  E.  Irving  116 

CRAM  and  FERGUSON,  Messrs  179 

CUYP,  Albert   47 

DABO,  Leon  S  116 

DABO,  Theodore  Scott  116 


189 


INDEX— Continued 

Page 


DEARTH,  Henry  Golden  116 

DENNIS,  J.  M  116 

DEWING,  Thomas  W  119 

DIAZ  DE  LA  PENA,  Narcisse  Virgilio   95 

DIETRICH,  Christian  Wilhelm   67 

DIETRICY,  Christian  Wilhelm   67 

DOLCI,  Carlo   24 

DONALDSON,  Douglas  180 

DOU,  Gerard   47 

DUJARDIN,  Karel   48 

DUPRfi,  Julien   95 

DURANT  POTTERY  176 

DUTCH  SCHOOL,  XVII  Century   48 

EATON,  Charles  H  119 

EBERLE,  Abastenia  St.  Leger  160 

(EL  GRECO)   87 

ENGELBRECHTSEN,  Cornelius   51 

FIORENTINO,  Pier  Francesco   27 

FISHER,  William  Mark  119 

FITZGERALD,  Harrington  119 

FLEMISH  SCHOOL,  XV  Century   68 

(FRANCIABIGIO)   20 

ERASER,  James  Earle  160 

FRIESEKE,  Frederick  C  120 

FRY,  Sherry  E  163 

GALLISON,  Henry  H  120 

GAMBLE,  Roy  C  120 

GARBER,  Daniel  120 

(GAROFALO)   27 

GAY,  W.  Allan  123 


190 


INDEX— Continued 

Page 


GELLfiE,  Claude  •.   84 

GERMER,  George  E  180 

(GIAMPIETRINO)   27 

GIES,  Joseph  W  123 

GINANNESCHI,  Emilia  J   95 

GIORDANO,  Luca   27 

GIRARDET,  Berthe  163 

GOES,  Hugo  van  der   68 

GOYEN,  Janvan   51 

GRAVESANDE,  Charles  Storm  Van's   95 

GROVER,  Oliver  Dennett  123 

GRUPPE,  Charles  P..  123 

GUARDI,  Francesco   27 

(GUERCINO)   28 

HARRISON,  Birge  124 

HARTMAN,  Sidney  K  124 

HASSAM,  Childe  124 

HASTINGS,  Thomas  184 

HAWEIS,  Stephen  124 

HAWTHORNE,  Charles  '.  127 

HENRI,  Robert  127 

HERMANN,  Hans   96 

HEUSCH,  William  de   51 

HILL,  Thomas  128 

HOBBEMA,  Meindert   52 

HOFFMAN,  Malvina  163 

HOOCH,  Peter  de   52 

HOPKIN,  Robert  128 

HOPPNER,  John   79 

HUNT,  William  Morris  131 


191 


INDEX— Continued 


Page 

HYATT,  Anna  Vaughn  163 

ISABEY,  Eugene  L.  G   96 

ISHAM,  Samuel  131 

ISRAELS,  Josef   96 

ITALIAN  SCHOOL   28 

ITALIAN  (NORTH)  SCHOOL   28 

IVES,  Lewis  T  131 

IWILL,  M.  J  99 

JARDIN,  Karel  du   52 

KENDALL,  William  Sergeant  131 

KESSEL,  Jan  van   52 

KIRCHMAYER,  1  179,  183 

KNIGHT,  Mary  C  180 

KONTI,  Isidore  164 

KOOPMAN,  Augustus  132 

KORALEWSKY,  Frank  L  187 

KORBEL,  Mario  164 

KROLL,  Leon  132 

KRYZANOWSKY,  Roman  132 

LaTOUCHE,  Gaston   99 

LESSORE,  Jules   99 

LEVER,  Hayley  132 

LIE,  Jonas  135 

LIEB,  Michael   99 

(LORRAIN,  Claude)   84 

LUNDENS,  Gerrit   52 

MACKNIGHT,  Dodge  135 

MAGONIGLE,  H.  Van  Buren  187 

MANCINI,  Antonio  100 


192 


INDEX— Continued 

Page 


MANSHIP,  Paul  164 

MARATTA,  Carlo   31 

MASSYS,  Quentln   71 

MASTER  OF  THE  SAN  MINIATO  ALTAR- 
PIECE,  The   31 

MELCHERS,  Gari  135 

METCALF,  Willard  L  136 

MEUNIER,  Constantin  167 

MILLER,  Richard  136 

MILLET,  Francis  D  139 

(MUNKACSY,  Mihaly  de)  100 

MURILLO,  Bartolom6  Esteban   87 

MURPHY,  J.  Francis  139 

MYLNE,  William  139 

NADELMAN,  Elie  167 

NAKAGAWA,  Hachiro  100 

NEEFFS,  Peter,  the  Elder   71 

NEER,  Aert  van  der   55 

NEWELL,  George  G  139 

NOURSE,  Elizabeth  139 

NUZI,  Alegretto   32 

OLINSKY,  Ivan  140 

OWEN,  William   79 

PANINI,  Giovanni  Paolo   35 

PATINIR,  Joachim   71 

PAULUS,  Francis  Petrus  140 

PEALE,  Rembrandt  140 

PEDRINI,  Giovanni   35 

PERELMA,  Ossip  100 

PERRAULT,  Leon  Bazile  100 


193 


INDEX— Continued 

Page 


PEWABIC  POTTERY  176 

PICKNELL,  G.  W  140 

PITTS,  Lendall  143 

POEL,  Egbert  van  der   55 

POELEMBURG,  Cornelius   55 

POLASEK,  Albin  168 

PUTZ,  Leo  103 

RAMENGHI,  Bartolommeo .   36 

REDFIELD,  Edward  143 

REHN,  F.  K.  M  143 

REID,  Robert  143 

(REMBRANDT)   56 

RENI,  Guide   39 

REYMERSWALE,  Marinus  van   72 

REYNOLDS,  Sir  Joshua   79 

RIBERA,  Jusepe  de   91 

RICCI,  Pietro   39 

RICHARDS,  Samuel  144 

ROBINEAU  PORCELAINS  179 

ROBUS,  Hugo  183 

ROLSHOVEN,  Julius  144 

RONNER,  Henrietta  103 

ROOS,  Philip   56 

(ROSA  da  TIVOLI)   56 

ROSS,  Isabel  144 

ROTH,  Frederick  G.  R  168 

RUBENS,  Peter  Paul   72 

RUYSDAEL,  Solomon  van   56 

RYN,  Rembrandt  Harmensz  van   56 

SACCHI,  Andrea   39 

SAFTLEVEN,  Herman,  the  Younger   59 


194 


INDEX— Continued 

Page 

SAINT-GAUDENS,  Augustus  171 

SALVI,  Giovanni  Battista   40 

SANO  di  PIETRO   40 

(SARTO,  Andrea  del)   43 

(SASSOFERRATO)   43 

SCHREYER,  Adolph  103 

SEYFFERT,  Leopold  144 

SHIRLAW,  Walter  144 

SMITH,  F.  Hopkinson  147 

SONNTAG,  William  L  147 

(SPAGNOLETTO,  Lo)   91 

SPENCER,  Robert  148 

STANLEY,  John  M  148 

STEEN,  Jan   59 

STEENWYCK,  Hendrick  van,  the  Younger   75 

STERNE,  Maurice  148 

STONE,  Arthur  J  183 

SWIFT,  Ivan  148 

TENIERS,  David,  the  Younger   75 

THEOTOCOPULI,  Domenico   91 

TIFFANY,  Louis  C  183 

TISI,  Benvenuto   43 

(TITIAN)   43 

TIZIANO,  Vecellio   43 

TROUBETZKOY,  Paul  171 

TROYON,  Constant  103 

TRYON,  Dwight  William  151 

TWACHTMAN,  John  H  151 

VAN  MARCKE,  Emile  104 

VELDE,  Adrian  van  der   60 


195 


INDEX— Continued 

Page 

VELDE,  William  van  der   60 

VERBOOM,  Adrian   60 

VERNET,  Claude  Josef   84 

VLIEGER,  Simon  de   63 

VLIET,  Hendrick  van   63 

VONNOH,  Bessie  Potter  171 

VOORT,  Cornelius  van  der   63 

VOS,  Cornelius  de   76 

WALTENSPERGER,  Charles  151 

WEINMAN,  Adolph  A  172 

WEIR,  J.  Alden  152 

WERFF,  Peter  van  der   64 

WEST,  Benjamin  152 

WEX,  Wilhelm   .104 

WHISTLER,  James  A.  M  155 

WHITNEY,  Gertrude  V  172 

WICKENDEN,  Robert  J  155 

WILSON,  Richard   80 

WITTE,  Emanuel  de   64 

WOODBURY,  Charles  H   155 

WOOLLEY,  James  T  179 

WOUVERMANN,  Philip   64 

WYANT,  Alexander  155 

WYNANTS,  Jan   64 

YELLIN,  Samuel  187 

YOSHIDA,  Hiroshi  104 


196 


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